本文關(guān)鍵詞：國(guó)產(chǎn)商業(yè)電影與中國(guó)國(guó)家形象建構(gòu)　出處：《中央民族大學(xué)》2013年碩士論文　論文類(lèi)型：學(xué)位論文

  更多相關(guān)文章： 國(guó)產(chǎn)商業(yè)電影 國(guó)家形象 跨文化傳播 價(jià)值觀

【摘要】：國(guó)家形象從各方面直接和間接的影響著國(guó)家利益,塑造積極正面的國(guó)家形象漸漸成為一個(gè)國(guó)家軟實(shí)力戰(zhàn)略的一部分。媒介為我們構(gòu)筑了地球村,這使得一個(gè)國(guó)家或民族的文化有機(jī)會(huì)成為世界文化,每個(gè)國(guó)家對(duì)自己本民族的文化拓展其實(shí)質(zhì)是對(duì)世界民眾眼球資源的搶奪,如不主動(dòng)搶占“制高點(diǎn)”,必然會(huì)淪落到“被動(dòng)則挨打”的局面。所以遵循信息傳播的客觀規(guī)律,尊重國(guó)內(nèi)外觀眾的心理需求,塑造好的國(guó)家形象已經(jīng)成為各國(guó)的重要課題,是各國(guó)大力追求的目標(biāo)。 媒介的影響力曠日久遠(yuǎn)。在國(guó)家形象的塑造上,媒介是一國(guó)自我打造的必須手段。在所有媒介形態(tài)中,電影最具有跨文化傳播力,它意義豐富,感染力強(qiáng),通過(guò)觸發(fā)觀眾的視聽(tīng)知覺(jué),能很好的抓住觀眾的注意力,引導(dǎo)觀眾的思維走向,成為文化伸張方面是最具潛在影響力的媒介。而商業(yè)電影在其占據(jù)市場(chǎng)攫取利潤(rùn)的動(dòng)力源驅(qū)動(dòng)下,是電影中最廣泛最有影響力的特殊存在。本文將國(guó)家形象和商業(yè)電影相結(jié)合,對(duì)國(guó)家形象的研究和國(guó)產(chǎn)商業(yè)電影的產(chǎn)業(yè)現(xiàn)狀進(jìn)行了梳理,以中國(guó)大陸出品的國(guó)產(chǎn)商業(yè)電影為研究對(duì)象,選取著名導(dǎo)演執(zhí)導(dǎo)以及近年來(lái)在贏得市場(chǎng)的高票房影片,從社會(huì)形象、政府形象、人文地理、價(jià)值觀的塑造和傳播等角度對(duì)國(guó)產(chǎn)商業(yè)片中的國(guó)家形象進(jìn)行分析。發(fā)現(xiàn)國(guó)產(chǎn)商業(yè)片在塑造國(guó)家形象方面存在著以下幾個(gè)問(wèn)題：一、從國(guó)產(chǎn)影片中主要的幾種類(lèi)型和出產(chǎn)數(shù)量上來(lái)看,國(guó)產(chǎn)商業(yè)片偏好歷史劇和武俠劇,對(duì)當(dāng)代中國(guó)現(xiàn)實(shí)社會(huì)的描述力度不夠。二、國(guó)產(chǎn)影片中涉及到公權(quán)力的內(nèi)容中,除了主旋律商業(yè)片,其他影片中普遍存在著弱化(甚至丑化)政府形象以及缺乏塑造意識(shí)兩個(gè)問(wèn)題。三、國(guó)產(chǎn)歷史片中或多或少的存在著不尊重中國(guó)歷史,電影制作者對(duì)歷史事件過(guò)度自我解讀的現(xiàn)象。四、價(jià)值觀是一部電影的核心,同時(shí)也是電影發(fā)揮社會(huì)性作用的關(guān)鍵所在,但我國(guó)國(guó)產(chǎn)商業(yè)片在價(jià)值觀的塑造和傳播方面,缺乏積極的引導(dǎo)和有意識(shí)的塑造,影片的意義表達(dá)參差不齊。 最后,本文依據(jù)國(guó)產(chǎn)電影在塑造國(guó)家形象中存在的問(wèn)題,以電影文本為中心,針對(duì)商業(yè)電影生存過(guò)程中的的三個(gè)不同階段提出以下策略：一、從電影人才的培養(yǎng)、國(guó)產(chǎn)商業(yè)電影的市場(chǎng)定位兩個(gè)角度提出前文本建構(gòu)策略；二、從電影文本中最重要的兩個(gè)文本元素——電影中的人物形象塑造和核心價(jià)值觀塑造——出發(fā)提出文本建構(gòu)策略；三、從制度審查和電影傳播兩方面提出商業(yè)電影構(gòu)建國(guó)家形象的后文本建構(gòu)策略。
[Abstract]:The national image directly and indirectly affects the national interest from all aspects, molds the positive positive national image gradually becomes a part of the national soft power strategy. The media has built the global village for us. This makes the culture of a country or a nation have the opportunity to become the world culture, each country to their own national culture expansion its essence is to the world people eyeball resources, such as not taking the initiative to seize the "commanding high ground". Therefore, following the objective law of information dissemination, respecting the psychological needs of the audience at home and abroad, shaping a good national image has become an important issue for all countries. Is the goal that each country pursues energetically. In the shaping of national image, the media is a necessary means for a country to create itself. In all media forms, film has the most cross-cultural communication power, it has rich meaning and strong appeal. By triggering the audience's audio-visual perception, we can grasp the audience's attention and guide the audience's thinking. Becoming the most potentially influential medium in terms of cultural expansion. And commercial films are driven by the power to capture profits in the market. It is the most extensive and influential special existence in the film. This paper combines the national image with the commercial film, and combs the research of the national image and the present situation of the domestic commercial film industry. Take the domestic commercial film produced by mainland China as the research object, select the famous director to direct and win the high box office film in the market in recent years, from the social image, the government image, the humanities geography. This paper analyzes the national image of domestic commercial films from the perspective of value creation and dissemination, and finds that domestic commercial films have the following problems in shaping the national image: 1. From the major types of domestic films and the number of production, domestic commercial films prefer historical drama and martial arts drama, the description of contemporary Chinese reality society is not strong enough. In the contents of domestic films involving public power, in addition to the main theme of commercial films, there are two common problems in other films: weakening (or even vilifying) the image of the government and the lack of shaping consciousness. There is more or less disrespect for Chinese history in domestic historical films, the phenomenon that filmmakers over-interpret historical events. Fourthly, values are the core of a film. At the same time, it is also the key for the film to play a social role. However, there is a lack of positive guidance and conscious shaping in the value creation and dissemination of domestic commercial films in China, and the significance of the film is not uniform. Finally, according to the domestic film in shaping the national image of the existing problems, film text as the center, in view of the commercial film in the survival of the three different stages of the following strategies: 1. From the training of film talents and the market orientation of domestic commercial film, this paper puts forward the pre-text construction strategy; Second, from the two most important text elements in the film text-the character image in the film and the core values shaping-starting from the text construction strategy; Thirdly, it puts forward the post-text construction strategy of constructing the national image of commercial film from two aspects of system review and film dissemination.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J905

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