本文關(guān)鍵詞：《舌尖上的中國》-紀(jì)錄片國際語境下的中國表達　出處：《陜西科技大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

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【摘要】：電視，是聲畫結(jié)合的最普通的大眾傳播手段；它是一個最簡單而又廣泛的社會交流系統(tǒng)，兼容新聞、藝術(shù)、娛樂、社會服務(wù)和公共教育等眾多形式，是人類進入視覺媒體時代，政治經(jīng)濟、科學(xué)技術(shù)、社會文化、倫理道德以及各種價值觀的交融性體現(xiàn)。[1]自1895年，盧米埃爾兄弟第一次開始進行的電影實踐活動，便奠定了其電影、電視最基礎(chǔ)的紀(jì)實功能，使得紀(jì)錄片是當(dāng)今社會一切電影、電視節(jié)目的鼻祖。弗拉哈迪拍攝《北方的納努克》，標(biāo)志著人類學(xué)電視紀(jì)錄片的誕生。 20世紀(jì)90年代起，在跨文化傳播的國際背景下，影視文化從最早的政治、啟蒙文化進而向大眾泛娛樂文化轉(zhuǎn)型。以往影視文化的認(rèn)知功能、教育功能逐漸被消解，，感官刺激功能、游戲、娛樂等功能均得到強化。在這種大環(huán)境下，紀(jì)錄片的敘事風(fēng)格也有了一定變化，開始從七、八十年代的新聞片、專題片逐步向紀(jì)錄片敘事轉(zhuǎn)型。紀(jì)錄片表達也逐漸開始追求平民化、故事化、碎片化、懸念的營造等敘事手段，與國際接軌。 近年來，我國紀(jì)錄片快速發(fā)展，中國紀(jì)錄片已然突破了以往的創(chuàng)作模式，已經(jīng)探索出一條屬于自己的發(fā)展道路，其創(chuàng)作特色與美學(xué)風(fēng)格已經(jīng)逐步形成。2012年，被稱作中國紀(jì)錄片品牌元年，中央電視臺紀(jì)錄片頻道開播。紀(jì)錄片《舌尖上的中國》以集群方式實現(xiàn)在全球60多個國家和地區(qū)銷售播出，并在國內(nèi)外引起了強烈反響，對中國紀(jì)錄片的長遠(yuǎn)發(fā)展具有重要意義。本文試圖從美學(xué)角度出發(fā)，分析《舌尖上的中國》在當(dāng)代網(wǎng)絡(luò)時代和全球化傳播語境下的美學(xué)意義，以及在創(chuàng)作層面所具有的中國特色美學(xué)風(fēng)格，及其意義和價值，并在一系列文獻理論的基礎(chǔ)之上，為中國紀(jì)錄片在構(gòu)建國家形象、傳播中國文化方面提供一定的理論支持。 第一章簡要的概述的研究紀(jì)錄片國際語境下的中國表達的研究緣起及創(chuàng)新所在。分別從《舌尖上的中國》、中國紀(jì)錄片創(chuàng)作兩個方面分析了當(dāng)前我國紀(jì)錄片創(chuàng)作在中國表達層面的理論研究發(fā)展，提出了一些不足。 第二章宏觀簡述了中國紀(jì)錄片的發(fā)展歷史，概括性的描述了各個階段紀(jì)錄片生產(chǎn)的歷史環(huán)境和創(chuàng)作特點，從而梳理中國紀(jì)錄片出現(xiàn)和迅速發(fā)展的整體脈絡(luò)。 第三章主要分析了當(dāng)代跨文化傳播下，我國紀(jì)錄片所處的大環(huán)境。首先介紹了當(dāng)前國內(nèi)紀(jì)錄片頻道的開播，中國紀(jì)錄片所將要面臨的市場化的生存困境以及收視率至上、娛樂至死的大眾文化語境。本章還介紹了中國紀(jì)錄片所肩負(fù)的傳遞中國、構(gòu)建中國國家形象的歷史使命。 第四章則具體分析紀(jì)錄片《舌尖上的中國》，從創(chuàng)作特點和美學(xué)風(fēng)格多角度分析，認(rèn)為在紀(jì)錄片國際語境下，紀(jì)錄片創(chuàng)作要具有中國特色，用中國式的方式去表達拍攝，再現(xiàn)當(dāng)代真正的中國。 第五章到第八章則從中國紀(jì)錄片創(chuàng)作表達文本、鏡頭方面的對比，突出表達國產(chǎn)紀(jì)錄片中國表達層面關(guān)注人文關(guān)懷、關(guān)注民族影像實踐，以及展望未來中國紀(jì)錄片本土化及全球化的把握，認(rèn)為建立國產(chǎn)紀(jì)錄片本土化品牌產(chǎn)業(yè)構(gòu)建是大勢所趨，同時還要在中國表達的基礎(chǔ)上兼顧全球化跨文化傳播。 應(yīng)該說，紀(jì)錄片不僅僅單純紀(jì)錄了中華民族和各個地區(qū)人們的生產(chǎn)生活，同樣也折射出了當(dāng)代中國大社會的整體形象與進步。中國紀(jì)錄片，用中國的方式表達中國，再現(xiàn)當(dāng)代社會主義中國的同時，也為中華各族人民以及全世界，描繪了一幅幅值得憧憬的畫卷。
[Abstract]:Television is the most common means of mass communication , which is the most simple and extensive social communication system , which is compatible with news , art , entertainment , social service and public education . It is the blend of human beings into the era of visual media , political economy , science and technology , social culture , ethics and various values . From the early 1990s , under the international background of cross - cultural communication , the film and television culture is transformed from the earliest politics and the enlightenment culture to the general entertainment culture . In the large environment , the narrative style of the documentary has been strengthened . In this large environment , the narrative style of the documentary has changed gradually , and the narrative style of the documentary is gradually transformed from the seven to the 1980s . In recent years , China ' s documentary has been developing rapidly . The Chinese documentary has already broken through the previous creation mode , and has explored a path of development that belongs to its own development . In 2012 , it is known as the Chinese documentary brand , and its creative characteristics and aesthetic style have been gradually formed . In 2012 , China ' s documentary film on the tip of the documentary was broadcast in more than 60 countries and regions of the world . Chapter One provides a brief overview of the origin and innovation of China ' s expression in the international context of documentary film . In the second chapter , the development history of documentary in China is briefly described , and the historical environment and creative characteristics of documentary production in each stage are described . The third chapter mainly analyzes the large environment of China ' s documentary in the contemporary cross - cultural communication . First , it introduces the opening of the current domestic documentary channel , the market - oriented survival predicament to be faced by the Chinese documentary , and the popular cultural context of the top - up , entertainment and death . The chapter also introduces the historical mission of China ' s documentary to transfer China and build the image of China . The fourth chapter analyzes the Chinese characters on the lingual cusp of the documentary , from the perspectives of creative characteristics and aesthetic style , and believes that in the international context of the documentary , the creation of the documentary will have Chinese characteristics , express the film in Chinese style , and then present the real China . The fifth and eighth chapters , from the Chinese documentary film creation express text , the lens aspect contrast , highlight the domestic documentary Chinese expression level pay attention to the humanities concern , pay attention to the national image practice , and look forward the future Chinese documentary localization and the globalization , believe that the establishment of the domestic documentary film localization brand industry construction is the trend of the trend , and at the same time , on the basis of China ' s expression , the globalization cross - cultural communication should be taken into account . It should be said that the documentary does not merely record the production and life of people in the Chinese nation and the region , but also reflects the overall image and progress of the Chinese large society .

【學(xué)位授予單位】：陜西科技大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J952

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