本文選題：青春片　切入點：亞類型　出處：《西安外國語大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：青春片在表達(dá)個體青春體驗、感染大眾情緒、緬懷美好過去的同時,傳播著青年人的審美情趣、思維方式與價值觀念。新世紀(jì)以來,中國大陸青春片在敘事內(nèi)容、創(chuàng)作方式上的轉(zhuǎn)變,使青春片成為推動電影市場的一大動力。探究新世紀(jì)以來的青春片創(chuàng)作轉(zhuǎn)型、觀影受眾群體特點以及意識形態(tài)解讀,能夠推動青春片的豐富性和多元化創(chuàng)作。隨著國內(nèi)網(wǎng)絡(luò)的普及、開放與利用以及電影技術(shù)的進(jìn)步,電影創(chuàng)作者越來越重視受眾的細(xì)分領(lǐng)域需求。本文立足電影制作、影視受眾及大眾文化的相互作用,從四個部分對新世紀(jì)以來的大陸青春片進(jìn)行研究。第一部分:對研究對象概念的界定以及介紹大陸青春片的創(chuàng)作方式與敘事內(nèi)容。梳理中國大陸青春片的發(fā)展流變及新世紀(jì)以來由于市場需求的變化導(dǎo)致大陸青春片的敘事內(nèi)容、創(chuàng)作方式的轉(zhuǎn)變。第二部分:主要對大陸青春片的亞類型進(jìn)行分類,并解讀青春片亞類型的意識形態(tài)內(nèi)涵。探討青春片與其他類型電影之間的融合在內(nèi)容和形式上的創(chuàng)新,以及青春片亞類型所傳播的意識形態(tài)產(chǎn)生的意義和價值。第三部分:以數(shù)據(jù)量化分析和田野調(diào)查相結(jié)合的方法,結(jié)合青春片導(dǎo)演創(chuàng)作對受眾發(fā)展的互動模式分析,探討新世紀(jì)以來的中國大陸青春片受眾特點及形成原因。第四部分:主要闡述中國大陸青春片的現(xiàn)狀以及對大陸青春片未來的展望。對大陸青春片匱乏的想象力、不完善的電影市場評價體系以及熱門IP的隨意改編現(xiàn)狀的反思,提出解決方案及改善辦法,促進(jìn)大陸青春片的健康持續(xù)發(fā)展,優(yōu)化影片的思想情感、受眾審美及文化內(nèi)涵。
[Abstract]:While expressing the individual experience of youth, infecting the public mood and remembering the beautiful past, youth films spread the aesthetic taste, mode of thinking and values of the young people. Since the new century, the Chinese mainland youth films have been narrative content. The change of creative way makes the youth film become a big motive force to promote the film market. It probes into the transformation of the youth film creation since the new century, the characteristics of audience and the interpretation of ideology. With the popularity of the domestic network, openness and utilization, as well as the progress of film technology, film creators pay more and more attention to the needs of audience segments. The interaction between audience and mass culture, The first part: the definition of the concept of the object of study and the introduction of the creative style and narrative content of the mainland youth film, and combing the development of the youth film in mainland China, the first part is the definition of the concept of the research object and the introduction of the creative style and narrative content of the mainland youth film. The changes and the changes in the market demand in the new century have led to the narrative content of the mainland youth films. The second part mainly classifies the subtypes of youth films on the mainland, and interprets the ideological connotation of the subtypes of youth films, and probes into the innovation in content and form of the fusion between youth films and other types of films. And the significance and value of ideology produced by the subtype of youth film. The third part: with the method of data quantitative analysis and field investigation, combining with the interactive mode of youth film director's creation to the audience development, the third part is the analysis of the interaction mode of the youth film director's creation to the audience development. This paper discusses the characteristics and forming reasons of the youth films in mainland China since the new century. Part 4th: it mainly expounds the present situation of the youth films in the mainland of China and the prospects for the future of the youth films in the mainland, as well as the imagination of the lack of the youth films in the mainland. The imperfect evaluation system of film market and the rethinking of the current situation of the random adaptation of popular IP are put forward to promote the healthy and sustainable development of the mainland youth film and to optimize the ideological and emotional, aesthetic and cultural connotation of the film.
【學(xué)位授予單位】：西安外國語大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J905

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本文編號：1562603