本文關(guān)鍵詞： 主旋律電影 運(yùn)營原則 運(yùn)營策略 發(fā)展展望　出處：《江西財經(jīng)大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：自1987年3月第一次在全國電影工作會議鄭重提出“突出主旋律,堅持多樣化”的口號以來,主旋律電影在中國電影市場上一直占有十分重要的地位,作為表達(dá)國家主流意識形態(tài),傳播社會主流價值觀的重要媒介,主旋律電影擁有極為強(qiáng)大的文化話語權(quán),縱觀每一歷史時期,主旋律電影都有出色的表現(xiàn)和可觀成績,曾出現(xiàn)了諸如《大決戰(zhàn)》、《開國大典》、《百色起義》、《周恩來》、《焦裕祿》、《國歌》、《我的1919》、《離開雷鋒的日子》、《唐山大地震》、《建國大業(yè)》等具有社會廣泛影響力的優(yōu)秀作品。 欣喜之余,我們卻理性地發(fā)覺,即便有國家政府這個“大護(hù)翼”照看,有些制作模式老套、缺乏創(chuàng)意、傳聲筒、報道式的刻板“主旋律”電影仍然沒有達(dá)到令人滿意的表現(xiàn),它們不僅沒有發(fā)揮應(yīng)有的社會效益,反而降低了大眾對“主旋律”題材電影的觀賞興趣,影響了電影自身的藝術(shù)魅力,使“主旋律”電影陷入了鮮有人問津的尷尬境地。很多觀眾,尤其是80、90后的新生代將目光紛紛投向陳凱歌、張藝謀、馮小剛等導(dǎo)演的商業(yè)大片上,《無極》、《英雄》、《非誠勿擾1、2》等電影曾一度壟斷了各大影院和節(jié)目頻道。當(dāng)然,不可否認(rèn)的是,隨著中國改革開放步伐的加快和市場化程度的進(jìn)一步深入,近年來也有不少電影人開始注重“主旋律”電影的市場運(yùn)營,研究其發(fā)展策略,陸續(xù)出現(xiàn)了諸如《建國大業(yè)》、《建黨偉業(yè)》、《湘江北去》、《秋之白華》、《集結(jié)號》、《南京!南京!》等質(zhì)量上乘作品,這些優(yōu)秀電影作品的先進(jìn)制作方法和營銷手段值得我們學(xué)習(xí)和反思。 本文首先從一個宏觀的視角梳理了我國“主旋律”電影在其成長的二十余年間所遭遇的各種尷尬現(xiàn)象,綜合運(yùn)用管理學(xué)、經(jīng)濟(jì)學(xué)、市場營銷學(xué)以及社會心理學(xué)等多門學(xué)科知識剖析問題根源；其次,結(jié)合多部典型案例,從一個微觀的視角來探析主旋律市場運(yùn)營的原則和策略；最后回歸于當(dāng)前市場經(jīng)濟(jì)時代,在把握和倡導(dǎo)社會主流價值觀的前提之下,探索主旋律電影的“主旋律內(nèi)容、商業(yè)化運(yùn)作”的未來發(fā)展之路。 今后,主旋律電影將繼續(xù)在傳播主流意識,弘揚(yáng)主流價值觀,倡導(dǎo)國家政策等方面發(fā)揮其巨大的社會教育作用。因此,無論是面對風(fēng)云變幻的市場挑戰(zhàn),還是面對日趨嚴(yán)格和挑剔的多樣化觀眾,主旋律電影人只有不斷創(chuàng)作出思想精深、制作精良、藝術(shù)精湛以及運(yùn)營靈活的作品,才能更好地完成我們的歷史使命,促進(jìn)主旋律電影充分發(fā)揮其應(yīng)有的“國家級”媒介作用。
[Abstract]:Since March 1987, the first time in the National Film Conference solemnly put forward the slogan "highlight the main melody, adhere to diversity" slogan, the theme film has been playing a very important role in the Chinese film market. As an important medium to express the national mainstream ideology and spread the social mainstream values, the theme film has a very strong cultural discourse, throughout every historical period. The main theme movies all have outstanding performance and remarkable achievement, have appeared such as "the great decisive battle", "the founding ceremony", "Baise uprising", < Zhou Enlai >, < Jiao Yulu >, "the national anthem", < my 1919 >. The days of leaving Lei Feng, the Tangshan earthquake, the cause of Founding a Nation, and other outstanding works with wide social influence. Happily, however, we rationally find that even with the care of the "big guard wing" of the national government, some of the production models are old-fashioned, lack of originality, and a mouthpiece. The reportage stereotype "the main melody" movie still has not achieved the satisfactory performance, they not only did not display the due social benefit, but reduced the popular viewing interest to the "theme" theme movie. Affected the artistic charm of the film itself, so that the "theme" film into an awkward situation that few people ask. Many viewers, especially the new generation after 80, 90 will focus on Chen Kaige, Zhang Yimou. On the commercial blockbusters directed by Feng Xiaogang, such films as "Wuji", "Hero", "if you are the one" once monopolized major cinemas and program channels. Of course, there is no denying that. With the acceleration of China's reform and opening up and the further deepening of the degree of marketization, in recent years, many filmmakers have begun to pay attention to the "theme" film market operation, research its development strategy. Such as the great cause of the founding of the people's Republic of China, the great cause of the founding of the Party, the great cause of the founding of the Party, the northbound Xiangjiang River, the White China of the Autumn Festival, the Assembly number, and Nanjing! Nanjing! The advanced production methods and marketing methods of these excellent films are worthy of our study and reflection. This paper firstly combs all kinds of embarrassing phenomena encountered by the "theme" film in its 20 years of growth from a macro perspective, and synthetically applies management science and economics. Marketing and social psychology and other disciplines of knowledge to analyze the root causes of the problem; Secondly, combining with many typical cases, this paper analyzes the principles and strategies of the main melody market operation from a micro perspective. Finally, returning to the current era of market economy, under the premise of grasping and advocating the mainstream values of the society, this paper explores the way of the future development of the theme film "main melody content, commercial operation". In the future, the theme film will continue to play its great role in social education in the aspects of spreading mainstream consciousness, carrying forward mainstream values, advocating national policies, etc. Therefore, no matter in the face of changing market challenges. Or in the face of increasingly strict and picky diverse audiences, the theme filmmakers only continue to create deep thinking, excellent production, exquisite art and flexible operation of works, in order to better complete our historical mission. Promote the theme film to give full play to its "national" media role.
【學(xué)位授予單位】：江西財經(jīng)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J943

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 王興東;“主旋律”電影創(chuàng)作心得[J];北京電影學(xué)院學(xué)報;1995年01期

2 張凌云;類型化:在政治和商業(yè)之間——中國主旋律電影敘事研究[J];當(dāng)代電影;2005年03期

3 萬傳法;;主旋律電影與主流電影[J];當(dāng)代電影;2007年06期

4 王一川;;主旋律影片的儒學(xué)化轉(zhuǎn)向[J];當(dāng)代電影;2008年01期

5 賈磊磊;;重構(gòu)中國主流電影的經(jīng)典模式與價值體系[J];當(dāng)代電影;2008年01期

6 鐘乙華;;新媒體環(huán)境下的電影營銷[J];當(dāng)代電影;2010年04期

7 范先明;;從電影《美國夢》看美國文化的特性[J];電影文學(xué);2011年01期

8 張麗鳳;;評主旋律電影《建國大業(yè)》的色、香、味[J];電影評介;2009年22期

9 魏婷;張興健;;淺析中國電影市場營銷問題及解決方案[J];經(jīng)濟(jì)問題探索;2008年06期

10 燕筠;“主旋律”影視劇路在何方[J];晉陽學(xué)刊;2001年05期

，

本文編號：1448322