本文選題：后現(xiàn)代　切入點：微電影　出處：《湖南大學(xué)》2013年碩士論文

【摘要】：隨著新媒體的大力發(fā)展，當(dāng)今中國已經(jīng)進入了一個所謂的“微時代”，其中，篇幅短小但又極富時代氣息和文化內(nèi)涵的微電影顯得格外引人注目，并且十分與眾不同。作為一個新興的電影藝術(shù)形式，微電影引起了社會廣泛關(guān)注和全民參與，從而成為了“微時代”的典型代表之一，更在新媒體傳播平臺上產(chǎn)生了巨大的影響，，吸引了不同學(xué)界的學(xué)者對其進行分析和研究。與此同時，后現(xiàn)代主義文化現(xiàn)象強勢進入我國，并且對我國文化藝術(shù)領(lǐng)域產(chǎn)生了重要影響，其中的一個主要影響，便是對我國電影藝術(shù)的變革和沖擊。這種影響和沖擊同樣對剛剛興起的微電影產(chǎn)生了不小的影響。本篇論文正是基于這樣一種社會文化背景，來探討后現(xiàn)代語境下的微電影的敘事特征、傳播特征、視覺特征和文化特征，為微電影的發(fā)展找到適合的模式和道路，使其更加適應(yīng)當(dāng)前的后現(xiàn)代主義環(huán)境和新媒體環(huán)境，從而促進微電影的長遠發(fā)展。 此外，本文把微電影置于后現(xiàn)代語境中進行研究，區(qū)別于其他文獻局限在微電影對傳統(tǒng)電影藝術(shù)的分析或者是對傳統(tǒng)電影藝術(shù)的革新，同時也區(qū)別于其他文獻僅局限于對微電影以及后現(xiàn)代主義作單一的研究分析，而是將微電影和當(dāng)前的后現(xiàn)代主義文化現(xiàn)象結(jié)合在一起，探討微電影的后現(xiàn)代性特征，同時探討微電影在后現(xiàn)代語境下的發(fā)展問題。這不僅區(qū)別了以往的研究角度，具有一定的創(chuàng)新意義，并且也有利于拓寬微電影和后現(xiàn)代主義兩者的研究范圍，具有重要的學(xué)術(shù)價值和意義，同時還有利于促進后現(xiàn)代主義文化背景下微電影的進步和發(fā)展，具有一定的實用意義。
[Abstract]:With the rapid development of new media, China has entered a so-called "micro-era". Among them, micro-films, which are short in length but extremely rich in the flavor of the times and cultural connotations, are particularly noticeable. And very different. As a new art form of film, micro-film has attracted wide attention of the society and the participation of the whole people, so it has become one of the typical representatives of the "micro-era". Moreover, it has had a great impact on the new media communication platform, attracting scholars from different academic circles to analyze and study it. At the same time, the phenomenon of post-modernism culture has come into our country strongly. And has had an important impact on the field of culture and art in China, one of which is the main influence. This is the change and impact on the art of film in our country. This kind of influence and impact also has a great influence on the newly rising micro-film. This paper is based on such a kind of social and cultural background. To explore the narrative, communication, visual and cultural characteristics of micro-films in the post-modern context, to find a suitable mode and path for the development of micro-films, and to make them more suitable for the current post-modernism environment and new media environment. So as to promote the long-term development of micro-film. In addition, this paper puts the micro-film in the post-modern context, which is different from other documents in the analysis of the traditional film art or the innovation of the traditional film art. At the same time, it is also different from other literature, which is limited to a single research and analysis of micro-film and postmodernism, but combines micro-film with the current post-modernism cultural phenomenon, and discusses the characteristics of post-modernity of micro-film. At the same time, this paper discusses the development of micro-film in the post-modern context, which not only distinguishes the previous research angle, but also helps to broaden the research scope of micro-film and post-modernism. It has important academic value and significance, and it is also helpful to promote the progress and development of micro-film under the background of postmodernism culture, which has certain practical significance.
【學(xué)位授予單位】：湖南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905

【參考文獻】

相關(guān)期刊論文 前7條

1 陳林俠;論后現(xiàn)代語境中電影敘事的先鋒困境[J];北京電影學(xué)院學(xué)報;2004年02期

2 尹鴻;告別了普羅米修斯之后──后現(xiàn)代語境中的中國電影[J];當(dāng)代電影;1994年02期

3 孟志軍;;微電影的傳播學(xué)解析[J];新聞界;2011年08期

4 黃凌子;;影像、網(wǎng)絡(luò)與大眾——以《11度青春》為例看“新媒體電影”現(xiàn)象[J];南京藝術(shù)學(xué)院學(xué)報(音樂與表演版);2011年02期

5 潘秀通,潘源;后現(xiàn)代電影的當(dāng)代語境及當(dāng)代性表征[J];上海大學(xué)學(xué)報(社會科學(xué)版);2004年01期

6 保羅·基奧齊;知寒;;民族志電影的起源[J];民族譯叢;1991年01期

7 范方俊;;從“解構(gòu)”到“建構(gòu)”——20年“后現(xiàn)代主義”在中國的接受述評[J];文藝理論與批評;2006年01期

本文編號：1659861