本文選題：IP　切入點：影視改編　出處：《湖北師范大學(xué)》2017年碩士論文

【摘要】：影視IP改編是近幾年來在影視界興起的一種新的改編熱潮現(xiàn)象,這種以IP作品為核心,以影視作品版權(quán)為改編基礎(chǔ),從選材、制作,到傳播等環(huán)節(jié)全產(chǎn)業(yè)鏈的生產(chǎn)模式,不僅為影視生產(chǎn)提供了一條新的思路,也再次讓改編作品成為當(dāng)下影視產(chǎn)出的主流。本文以當(dāng)下我國影視IP改編熱現(xiàn)象為題,對正在發(fā)生的熱門現(xiàn)象進行深入研究,挖掘IP外殼下的真實內(nèi)核,探索出影視改編作品在不同時期所擁有的特征及規(guī)律。論文的第一部分從當(dāng)下我國正在發(fā)生的影視IP改編現(xiàn)象著手進行探究,主要為影視IP改編給出確切定義,即所謂的影視IP改編,就是指在媒介融合的趨勢下,以版權(quán)擁有為核心,采取產(chǎn)業(yè)化的運作方式將現(xiàn)有文化形式(包括傳統(tǒng)文學(xué)、網(wǎng)絡(luò)文學(xué)、綜藝節(jié)目、音樂、漫畫、游戲等)改編為電影或電視劇的行為。第二部分主要對影視IP改編所具有的多重特征進行分析,包括以“互文性”為主要改編依據(jù)的文本特征、現(xiàn)有改編作品所體現(xiàn)出的典型的“二次傳播”特征,以及在我國大力提倡發(fā)展文化產(chǎn)業(yè)形勢下的“一干多支”型產(chǎn)業(yè)模式特征,也正是這三個隱藏在影視IP改編中的主要特征才使得這一現(xiàn)象越發(fā)火熱,成為目前國內(nèi)影視界難以忽視的對象。論文的第三部分將正在發(fā)生的影視IP改編現(xiàn)象與早期的文學(xué)作品影視改編進行比較研究,分析出“IP”之名背后所蘊含的真正意義,畢竟作為當(dāng)代新時期的產(chǎn)物,影視IP改編與建國之后一定時期內(nèi)的改編現(xiàn)象在還是有著巨大差異的。第四部分是對當(dāng)下我國影視IP改編熱現(xiàn)象的審美文化研究,日漸興盛的消費文化、視覺文化和娛樂文化是現(xiàn)代人審美轉(zhuǎn)向的主要根源。最后一部分則是對兩部已有的影視IP改編作品的具體對比分析,以《瑯琊榜》和《九層妖塔》為典型案例總結(jié)出改編得失,為今后的影視IP改編事業(yè)提供借鑒之處。影視IP改編作為一個尚在發(fā)生的新興現(xiàn)象,無論是對其定義的探討,還是對其發(fā)展形勢的研究目前都不是很多。本文從這一現(xiàn)象本身出發(fā),運用大量對比的方法論述了熱門現(xiàn)象背后所蘊藏的本質(zhì)特點,雖然以IP為對象進行的改編作品已經(jīng)成為時下推動影視產(chǎn)業(yè)發(fā)展的主要力量,但還未完全成熟并且存在諸多缺陷的影視IP改編仍然需要被理性對待,內(nèi)容為王始終是影視生產(chǎn)不可拋棄的最重要原則,如何引導(dǎo)以IP為核心的改編作品進行合理地生產(chǎn)傳播,依然任重而道遠。
[Abstract]:Film and TV IP adaptation is a new phenomenon of adaptation upsurge in film and television industry in recent years. This kind of production mode is based on IP works as the core and the copyright of film and television works as the adaptation basis, from material selection, production, transmission and other links to the whole industry chain production mode. It not only provides a new way of thinking for film and television production, but also makes adaptation become the mainstream of current film and television output. Explore the real core of IP shell, explore the characteristics and rules of film and television adaptation in different periods. The first part of the paper from the film and television IP adaptation is taking place in China to explore the phenomenon, The definition of film and television IP adaptation is mainly given for film and television IP adaptation, that is, under the trend of media integration, taking copyright ownership as the core, the existing cultural forms (including traditional literature and network literature) will be adopted in the way of industrialization. Variety shows, music, comics, games, etc.) the act of adapting to movies or TV dramas. The second part mainly analyzes the multiple features of film and television IP adaptation, including the text features based on "intertextuality". The typical characteristics of "secondary communication" embodied in the existing adapted works, and the characteristics of "one job, more than one branch" industry pattern under the situation of promoting the development of cultural industry in our country, It is precisely these three main features hidden in the film and television IP adaptation that make this phenomenon even hotter. The third part of this paper compares the phenomenon of film and television IP adaptation with that of the early literary works, and analyzes the real significance behind the name "IP". After all, as a product of the contemporary new era, there are great differences between the adaptation of film and television IP in a certain period after the founding of the people's Republic of China. The fourth part is the aesthetic culture research on the hot phenomenon of film and television IP adaptation in China. The growing consumer culture, visual culture and entertainment culture are the main causes of the aesthetic transformation of modern people. The last part is a comparative analysis of the two existing film and television IP adaptation works. Taking "Langya Bang" and "Nine-storey Monster Tower" as typical cases, the paper sums up the success and loss of adaptation, and provides a reference for the future film and television IP adaptation. As a new phenomenon that is still happening, film and television IP adaptation, regardless of its definition, is discussed. There is not much research on its development situation at present. Starting from the phenomenon itself, this paper discusses the essential characteristics behind the popular phenomenon by means of a large number of comparative methods. Although the adaptation works based on IP have become the main force to promote the development of the film and television industry, the adaptation of film and television IP, which is not yet fully mature and has many defects, still needs to be treated rationally. The content of Wang is always the most important principle of film and television production. How to guide the rational production and dissemination of the adapted works based on IP is still a long way to go.
【學(xué)位授予單位】：湖北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J943

【參考文獻】

相關(guān)期刊論文 前10條

1 楊洪濤;;古裝傳奇劇的新標(biāo)桿——兼談電視劇《瑯琊榜》[J];當(dāng)代電視;2016年01期

2 陸川;;“我和我的電影在一起成長”——時代人物專訪陸川[J];時代人物;2015年10期

3 中國電視藝術(shù)委員會評論員;;用好IP理念 助推“品質(zhì)制勝”[J];中國電視;2015年09期

4 王臻真;;IP電影熱——中國大眾消費時代進行時[J];當(dāng)代電影;2015年09期

5 易琴;;網(wǎng)絡(luò)文學(xué)書寫電影新類型——21世紀(jì)電影與文學(xué)的新互動探究[J];寫作(上旬刊);2015年09期

6 范江懷;;新興媒體與“二次傳播”[J];軍事記者;2015年05期

7 韓雪;;創(chuàng)作、美學(xué)、互文——產(chǎn)業(yè)化十年背景下的中國電影與電視劇[J];當(dāng)代電影;2013年07期

8 陳林俠;;消費,還是消費:當(dāng)下網(wǎng)絡(luò)文學(xué)的影視劇改編[J];藝術(shù)評論;2012年05期

9 朱怡璇;;從傳播學(xué)視角看網(wǎng)絡(luò)小說改編影視劇的熱播[J];電影評介;2012年05期

10 王銘玉;;符號的互文性與解析符號學(xué)——克里斯蒂娃符號學(xué)研究[J];求是學(xué)刊;2011年03期

相關(guān)重要報紙文章 前1條

1 祝文明;周杰;;《九層妖塔》糾紛案:天下霸唱一審贏得署名權(quán)[N];中國知識產(chǎn)權(quán)報;2016年

相關(guān)碩士學(xué)位論文 前5條

1 張艷陽;論王朔小說的影視改編[D];安徽大學(xué);2014年

2 宋姣;中國網(wǎng)絡(luò)文學(xué)改編的影視劇研究[D];遼寧大學(xué);2013年

3 陳延榮;《西游記》影視改編研究[D];華東師范大學(xué);2012年

4 李瑞;“互文性”視閾下的當(dāng)代影視改編研究[D];河南大學(xué);2011年

5 呂文杰;海巖小說與影視的互動[D];中國海洋大學(xué);2010年

，

本文編號：1688325