本文關(guān)鍵詞：新獨(dú)立電影：中國(guó)獨(dú)立電影的民間轉(zhuǎn)向　出處：《南京師范大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 新獨(dú)立電影 個(gè)人影像生產(chǎn) 底層影像

【摘要】：本文從新世紀(jì)之交DV影像技術(shù)革命以及由此產(chǎn)生的大眾影像生產(chǎn)現(xiàn)象的宏觀媒介環(huán)境出發(fā),論述了2000年左右之后的中國(guó)獨(dú)立電影在生產(chǎn)方式、傳播方式、作者身份以及作者創(chuàng)作視域上的民間轉(zhuǎn)向趨勢(shì)與轉(zhuǎn)型特征。筆者沿用《中國(guó)新獨(dú)立電影訪談錄：民間影像力量在覺(jué)醒》一文中提出的“新獨(dú)立電影”的概念,將2000年之后轉(zhuǎn)型時(shí)期中的中國(guó)獨(dú)立電影統(tǒng)稱為“新獨(dú)立電影”。 全文共分為三章,全面闡述了中國(guó)新獨(dú)立電影的概念、中國(guó)獨(dú)立電影的轉(zhuǎn)向原因與具體表征。第一章主要從DV影像制作技術(shù)之于影像生產(chǎn)方式的革命性意義出發(fā),對(duì)中國(guó)新獨(dú)立電影的初始概念作了簡(jiǎn)要辨析,論述了新獨(dú)立電影產(chǎn)生以及中國(guó)獨(dú)立電影在這一時(shí)期呈現(xiàn)出民間轉(zhuǎn)向趨勢(shì)的歷史必然性,并在第三節(jié)中對(duì)民間影像與獨(dú)立電影的關(guān)系作了簡(jiǎn)要區(qū)分。第二章則主要從作者(生產(chǎn)者)與市場(chǎng)傳播兩個(gè)方面分別考察了新獨(dú)立電影作者身份、傳播渠道的民間化、公共化轉(zhuǎn)型特征以及新獨(dú)立電影作者群體、傳播渠道的具體構(gòu)成。第三章則以早期獨(dú)立電影與新獨(dú)立電影中的“底層影像”為例論述了新獨(dú)立電影作者在創(chuàng)作視域上的民間化轉(zhuǎn)型趨勢(shì)與具體表征。
[Abstract]:Starting from the DV image technology revolution at the turn of the new century and the macro media environment of the mass image production phenomenon, this paper discusses the Chinese independent film production mode after 2000. Mode of communication. The author adopts the concept of "New Independent Film" proposed in interview with Chinese New Independent Film: folk Image Power in the Awakening. After 2000, the Chinese independent film in the transition period is called "the new independent film". The full text is divided into three chapters, the concept of China's new independent film. The first chapter mainly starts from the revolutionary significance of DV image production technology to the mode of image production, and makes a brief analysis of the initial concept of the new independent film in China. This paper discusses the historical inevitability of the emergence of the new independent film and the trend of Chinese independent film in this period. In the third section, the author makes a brief distinction between folk images and independent films. The second chapter mainly examines the identity of new independent film authors from two aspects: author (producer) and market communication. The folklore of communication channels, the characteristics of publicity transformation and the group of new independent filmmakers. The third chapter takes the "bottom image" in the early independent film and the new independent film as an example to discuss the folk transition trend and concrete representation of the author of the new independent film in the field of creation.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905

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本文編號(hào)：1427264