本文選題：體育賽事傳播 + 乒羽賽事�。� 參考：《沈陽(yáng)體育學(xué)院》2017年碩士論文

【摘要】：運(yùn)動(dòng)鏡頭以其獨(dú)有的優(yōu)勢(shì)成為體育賽事傳播的重要載體,尤其是在大型體育賽事傳播中更加發(fā)揮著舉足輕重的作用。分析總結(jié)這些運(yùn)動(dòng)鏡頭的敘事表現(xiàn)、優(yōu)勢(shì)及其不足之處對(duì)于大型體育賽事傳播中更好地發(fā)揮運(yùn)動(dòng)鏡頭的敘事作用具有重要的現(xiàn)實(shí)意義。本文選取2016年里約奧運(yùn)會(huì)乓羽賽事視頻資料中的運(yùn)動(dòng)鏡頭的敘事內(nèi)容為研究對(duì)象,以內(nèi)容分析法為主要研究方法,從敘事視角、敘事結(jié)構(gòu)、敘事主體以及敘事策略這四大指標(biāo)展開(kāi)框架,詳細(xì)分析比賽視頻中運(yùn)動(dòng)鏡頭的使用情況,研究其具有代表意義的運(yùn)動(dòng)鏡頭使用的次數(shù)以及其敘事內(nèi)容,結(jié)合敘事學(xué)基本原理以及有關(guān)電影理論家關(guān)于運(yùn)動(dòng)鏡頭敘事的理論,通過(guò)對(duì)運(yùn)動(dòng)鏡頭拍攝手法及呈現(xiàn)內(nèi)容的研究分析,揭示運(yùn)動(dòng)鏡頭在體育賽事傳播中的敘事表現(xiàn)。研究認(rèn)為,運(yùn)動(dòng)鏡頭敘事的主要表現(xiàn)有:敘事視角方面,運(yùn)動(dòng)鏡頭通過(guò)不同視點(diǎn)的變化組合實(shí)現(xiàn)不同場(chǎng)景的切換,在敘事過(guò)程中實(shí)現(xiàn)視點(diǎn)、場(chǎng)景和情感的完美結(jié)合;敘事結(jié)構(gòu)方面,運(yùn)動(dòng)鏡頭在敘事過(guò)程中具有連貫性和非連貫性,將連貫性和非連貫性相結(jié)合可以使運(yùn)動(dòng)鏡頭在體育賽事敘事過(guò)程中做到收放自如,令體育賽事更具整體性;敘事主體方面,運(yùn)動(dòng)鏡頭能夠塑造運(yùn)動(dòng)員形象,仰角拍攝能夠體現(xiàn)出運(yùn)動(dòng)員高大威猛的形象并夸張運(yùn)動(dòng)員彈跳高度、俯角拍攝能夠壓縮人物形象,突顯出運(yùn)動(dòng)員緊張小心的心理、正面拍攝有利于表現(xiàn)運(yùn)動(dòng)員的正面特征,突出人物的本來(lái)面貌、側(cè)面拍攝有利于表現(xiàn)運(yùn)動(dòng)員的方向性和動(dòng)態(tài)、背面拍攝給人以積極的聯(lián)想,可以為觀眾提供身臨其境的想象空間;敘事策略方面,運(yùn)動(dòng)鏡頭通過(guò)制造次要矛盾助推比賽發(fā)展,通過(guò)制造主要矛盾凸顯比賽高潮,通過(guò)主要矛盾和次要矛盾的結(jié)合完美詮釋一場(chǎng)環(huán)環(huán)相扣、精彩紛呈的比賽。此外,本次研究還得出了體育賽事中運(yùn)動(dòng)鏡頭敘事的四大優(yōu)勢(shì)與五點(diǎn)不足。本次研究得出以下結(jié)論:運(yùn)動(dòng)鏡頭作為一種敘事手段在大型體育賽事傳播中發(fā)揮著越來(lái)越重要的作用;非連貫性融于連貫性之中能夠更好地展現(xiàn)體育賽事的整體性;運(yùn)動(dòng)鏡頭在大型體育賽事傳播中通過(guò)對(duì)運(yùn)動(dòng)員形象的塑造有利于實(shí)現(xiàn)收視率的攀升和民族認(rèn)同感的增強(qiáng);運(yùn)動(dòng)鏡頭更有利于表現(xiàn)賽場(chǎng)中的矛盾沖突;運(yùn)動(dòng)鏡頭在大型體育賽事傳播中的敘事表現(xiàn)既具有得天獨(dú)厚的優(yōu)勢(shì)又存在一定的不足之處。針對(duì)運(yùn)動(dòng)鏡頭在敘事過(guò)程中存在的不足之處,提出相應(yīng)的對(duì)策建議:第一,不同攻擊方式采取不同角度精確捕捉;第二,不同位置攻防轉(zhuǎn)換采取不同景別精確捕捉;第三,建議使用精確的鏡頭切換完整地記錄比賽;第四,鏡頭定格畫(huà)面要準(zhǔn)確,高質(zhì)量捕捉關(guān)鍵畫(huà)面;第五,建議根據(jù)場(chǎng)上比賽節(jié)奏的變化及時(shí)調(diào)整鏡頭使用時(shí)長(zhǎng)和景別;第六,最好減少俯角鏡頭的運(yùn)用,采用俯仰結(jié)合的方式敘述比賽;第七,避免因主觀情緒的介入導(dǎo)致比賽敘事失衡失實(shí)。
[Abstract]:Sports lens, with its unique advantages, has become an important carrier of sports events, especially in the transmission of large sports events. The analysis and summary of the narrative performance of these sports lenses, advantages and shortcomings are the narrative functions of the sports lens in the transmission of large sports events. This article selects the narrative content of the motion lens in the video data of the table Pang feathers of the Rio Olympic Games in 2016 as the research object, taking the content analysis method as the main research method, from the narrative perspective, the narrative structure, the narrative subject and the narrative strategy, and analyzes the motion lens in the competition video in detail. The use of the typical sports lens and its narrative content, the basic principle of narratology and the theory of film theorists on the narrative of motion lens, through the study and analysis of the shooting techniques and contents of the motion lens, the narration of the motion lens in the spread of sports events is revealed. The main manifestations of the motion lens narrative are: the narrative angle of view, the motion lens realizes the switching of different scenes through the change of different viewpoints, realizes the visual point, the perfect combination of scene and emotion in the narrative process, and the narrative structure, the motion mirror head has continuity and discontinuity during the narrative process, and will be connected with the narrative structure. The combination of intersecting and discontinuity can make the motion lens be free and free in the narrative process of sports events, and make the sports events more integral. In the aspect of the narrative subject, the motion lens can shape the athlete's image. The elevation can embody the image of the athletes' tall and fierce and exaggerate the jumping height of the athletes, and the angle shooting can be pressed. The image of shrunk characters highlights the psychological and careful psychology of the athletes. Positive shooting helps to show the positive features of the athletes, highlights the original features of the characters, the side shooting is conducive to the performance of the direction and dynamics of the athletes, the back shooting gives a positive association to the people, and can provide the audience with the imaginary space; the narrative strategy, Through the manufacture of minor contradiction booster competition, the sports lens highlights the competition climax through the manufacture of the main contradictions and through the combination of the main contradiction and the secondary contradiction perfectly to interpret a match which is exciting and intricate. In addition, this study has also obtained four advantages and five shortcomings of the motion lens narrative in sports events. The following conclusion is drawn: the motion lens plays an increasingly important role in the transmission of large sports events as a narrative means; incoherence and coherence in coherence can better show the integrity of sports events; the motion lens is conducive to the realization of the image of the athletes in the propagation of large sports events. The rise of the rate and the enhancement of the sense of national identity; the motion lens are more conducive to the performance of the conflict in the game. The narrative performance of the motion lens in the transmission of large sports events has both unique advantages and some shortcomings. First, different ways of attack take different angles and accurate capture; second, different positions of attack and defence take different scene to capture accurately; third, it is suggested to use accurate shot switch to record the game completely; fourth, lens set screen to be accurate, high quality capture key painting surface; fifth, the suggestion is based on the rhythm of the game change in time. The whole lens uses the length and the scene. Sixth, it is best to reduce the use of the corner lens, to use the way of the combination of pitching to describe the competition; seventh, avoid the disequilibrium of the narrative imbalance due to the intervention of subjective emotion.

【學(xué)位授予單位】：沈陽(yáng)體育學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：G80-05

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