本文選題：新媒體　切入點(diǎn)：電影批評　出處：《復(fù)旦大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：本文主要針對新技術(shù)條件下文化發(fā)展出現(xiàn)的新論題：電影批評在新的批評平臺上批評空間的拓展。由此探索新媒體語境中電影批評存在的問題,并探求解決之道。論文從批評平臺、批評主體、批評對象、批評樣態(tài)入手,在邏輯上有意識地推進(jìn)。論文第一章梳理了批評平臺新媒體的概念,把延伸作為新媒體的文化品格。這種延伸是一種全面的延伸,“新媒體”不僅是對“傳統(tǒng)媒體”的延伸,也是對以其為載體的內(nèi)容的補(bǔ)充與完善,更是對人的神經(jīng)系統(tǒng)的延伸。新媒體以其巨大容量承載一切話語,并且能夠不斷通過促進(jìn)不同語體之間的對話而不斷刺激新的話語的產(chǎn)生,是一個(gè)擁有無限可能性與生命力的平臺。第二章以田野調(diào)查為切入點(diǎn),分析兩大批評主體——專業(yè)影評人和大眾影評人的較量,并探討專業(yè)影評之與最主要受眾——高校學(xué)生——的影響因子出現(xiàn)的波動,用可靠的數(shù)據(jù)及時(shí)回應(yīng)。根據(jù)高校學(xué)生查閱影評的方式和途徑分析他們對于專業(yè)影評以及大眾影評的態(tài)度,理清大眾影評的文化特性以及專業(yè)影評的立場。重新對專業(yè)影評的危機(jī)進(jìn)行定位,并由此進(jìn)一步思考專業(yè)影評的出路：在堅(jiān)守傳統(tǒng)媒體的同時(shí),利用新媒體拓展生存空間。第三章則從電影本身到新的電影批評形態(tài)來分析“微對象”開啟的批評空間。微電影作為新媒體之子,自身不斷發(fā)生蛻變,公益微電影則在新的廣告模式中實(shí)現(xiàn)了自身的奉獻(xiàn)與救贖。除此之外,還出現(xiàn)了新的電影批評形態(tài)——微博影評,低門檻、匿名性使微博成為一個(gè)全民批評的“烏合之場”,因此形成了微博影評自我粗淺的美學(xué)風(fēng)格。第四章探究視頻形態(tài)的電影批評,通過對網(wǎng)絡(luò)視頻影評生存態(tài)勢的掃描,并以《影評聯(lián)播》、《龍斌大話電影》為例,剖析網(wǎng)絡(luò)視頻影評的后現(xiàn)代主義敘事風(fēng)格。同時(shí),探討了電影影評欄目跨媒體傳播實(shí)踐及其意義。結(jié)語在前四章的基礎(chǔ)上,總結(jié)新媒體語境中電影批評出現(xiàn)的問題,并提出了對策。
[Abstract]:This paper focuses on the development of culture under the condition of new technology appears as a new topic: film criticism criticism in the new criticism space development platform. Then explore the movie new media in the context of critical problems and seek solutions. From the subject of criticism, criticism, criticism, criticism, state of consciousness advance in logic. The first chapter summarizes the concept of criticism platform of new media, the new media as the extension of the cultural character. This extension is a comprehensive extension of the "new media" is not only the extension of the traditional media, but also to supplement and perfect the carrier content, it is the extension on the human nervous system. New media with its huge capacity of carrying all the words, and can continue through the promotion of dialogue between different styles and continue to stimulate new discourse, is one has no limit may And the vitality of the platform. In the second chapter, based on field investigation as the starting point, analysis of the two critical subject -- the professional critics and the public critics of the contest, and to explore the professional film critics and the audience -- College Students -- fluctuations of the factor, with reliable data and timely response. According to the university students' access to film the ways and methods of analysis for their professional attitude and film critics of mass, mass culture characteristics and clarify the film critics' position. The re positioning of the professional film critics of the crisis, and thus further thinking way in the professional film critics: stick to the traditional media at the same time, the use of new media to expand the living space. The third chapter from the film itself the criticism form to analyze "micro object" open space of criticism to the new film. Micro film as a new media, its unceasing change, public interest Micro film in the new advertising model is realized in the dedication and salvation of their own. In addition, there are also new forms of film criticism -- micro-blog reviews, low threshold, anonymity make micro-blog become a national criticism of the "rabble", thus forming the aesthetic style of micro-blog film self shallow. Fourth the chapter explores the video form of film criticism, through the network video reviews survival situation and to scan, < < Long Bin > movie network, big movie > as an example, analysis of network video reviews the style of postmodern narrative. At the same time, discusses the film column cross media communication practice and its significance. The conclusion based on the previous chapters on the summary of the problems in the context of new media film criticism, and puts forward some countermeasures.

【學(xué)位授予單位】：復(fù)旦大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

【共引文獻(xiàn)】

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