本文選題：中國紀(jì)錄片　切入點(diǎn)：現(xiàn)實(shí)思考　出處：《現(xiàn)代傳播(中國傳媒大學(xué)學(xué)報(bào))》2016年11期

【摘要】：正紀(jì)錄片制片人,這個(gè)在國外紀(jì)錄片工業(yè)中舉足輕重的角色,卻在中國的紀(jì)錄片市場(chǎng)中定位混亂,甚至功能缺失。投資人、導(dǎo)演、媒體管理者,甚至政府官員,在紀(jì)錄片中都可能被冠以"制片人"。當(dāng)一個(gè)職業(yè)逐漸演變成為一種頭銜和稱謂時(shí),從業(yè)者不免發(fā)出感慨,"中國不缺少好的紀(jì)錄片導(dǎo)演,卻缺少好的紀(jì)錄片制片人"1。制片人缺失的微觀現(xiàn)象,其實(shí)反映了中國紀(jì)錄片市場(chǎng)中的深層問題。本文以此為切口,研
[Abstract]:Documentary filmmakers, who play an important role in the foreign documentary industry, have a chaotic or even lacking function in China's documentary market. Investors, directors, media managers, and even government officials, As a profession evolves into a title and title, practitioners can't help feeling, "there is no shortage of good documentary filmmakers in China." But the lack of good documentary filmmakers "1. The microcosmic phenomenon of the absence of producers, in fact, reflects the deep problems in the Chinese documentary market.
【作者單位】： 中國傳媒大學(xué)新聞傳播學(xué)部電視學(xué)院;香港大學(xué)文學(xué)院;
【分類號(hào)】：J952
，

本文編號(hào)：1688019