本文選題：新疆少數(shù)民族題材電影 + 少數(shù)民族文化　； 參考：《中央民族大學(xué)》2013年碩士論文

【摘要】：21世紀(jì)以來,新疆少數(shù)民族題材電影屢屢斬獲國內(nèi)及國際性的大獎,在業(yè)界聲名漸響,不僅在一定范圍內(nèi)傳播了新疆少數(shù)民族文化,樹立了新疆形象,更為處于西北邊陲的新疆搭建了跨文化交流的平臺,增進(jìn)了不同民族、不同地域、不同國家間的了解與互動,成為“文化強國”、“文化強省”的重要戰(zhàn)略資源。但是,在“受眾即市場”的今天,新疆少數(shù)民族題材電影要生存、發(fā)展,僅靠贏得評委是遠(yuǎn)遠(yuǎn)不夠的。 為了研究目前新疆少數(shù)民族題材電影在受眾中的傳播情況,本文以21世紀(jì)以來(2000-2012)新疆少數(shù)民族題材電影為切入點,運用敘事學(xué)分析、對比研究法、調(diào)查訪談法等研究方法,在對自誕生至2012年底的新疆少數(shù)民族題材電影作了簡要回顧的基礎(chǔ)上,以動態(tài)的眼光從微觀與宏觀、橫向與縱向的層面上論述了21世紀(jì)以來新疆少數(shù)民族題材電影的創(chuàng)作主體、創(chuàng)作主題、敘事特征等要素的變化,以此窺見這一時期下電影內(nèi)容上的變革與發(fā)展；重點根據(jù)問卷調(diào)查與深度訪談的一手?jǐn)?shù)據(jù)、資料研究了電影存在的問題與障礙,主要表現(xiàn)為：傳者“編碼”失誤,忽視了“都市”、“多民族”、“多元文化”等符號；受眾“解碼”偏差,存在文化定勢思維、文化誤讀的情況；傳播內(nèi)容與受眾期待不相符、關(guān)鍵內(nèi)容把握不嚴(yán)謹(jǐn),政治教育色彩濃；傳播渠道狹窄,利用院線、網(wǎng)絡(luò)傳播的程度不高等；呈現(xiàn)出對區(qū)域內(nèi)優(yōu)于對區(qū)域外、對本民族優(yōu)于對非本民族、對“圈內(nèi)”優(yōu)于對“圈外”傳播的現(xiàn)狀；最后結(jié)合21世紀(jì)以來新疆少數(shù)民族題材電影取得的成功經(jīng)驗與存在的不足,試圖從內(nèi)容、發(fā)行、營銷、受眾等幾個方面對電影的發(fā)展提供建議與意見,以期使電影真正的從“幕后”走向“臺前”,走近受眾、走進(jìn)受眾,推動新疆少數(shù)民族題材電影持續(xù)健康發(fā)展,讓新疆少數(shù)民族題材電影以文化“軟實力”的形態(tài)實現(xiàn)與世界的平等對話。 整體而言,本文所欲思考的是：新疆少數(shù)民族題材電影如何才能贏得受眾,贏得市場,如何才能更好的傳播少數(shù)民族文化,實現(xiàn)良好的跨地域、跨民族、跨文化傳播,實現(xiàn)電影的產(chǎn)業(yè)化發(fā)展。
[Abstract]:Since the 21st century, Xinjiang ethnic minority films have repeatedly won domestic and international awards, gradually gaining notoriety in the industry, not only spreading Xinjiang minority culture within a certain scope, but also setting up the image of Xinjiang. Xinjiang, which is located in the northwestern border, has set up a platform for cross-cultural communication, enhanced the understanding and interaction among different nationalities, different regions and different countries, and has become an important strategic resource for "strong cultural power" and "strong cultural province". However, in the "audience is the market" today, Xinjiang minority films to survive and develop, it is far from enough to win the judges. In order to study the spread of Xinjiang minority films in the audience at present, this paper takes the Xinjiang minority films since the 21st century as the breakthrough point, using narrative analysis, comparative research methods, investigation and interview methods, and so on. On the basis of a brief review of Xinjiang minority films from birth to the end of 2012, this paper discusses the main creative subjects of Xinjiang minority films in the 21st century from the micro and macro, horizontal and vertical levels. The changes of creative themes, narrative features and other elements, in order to see the changes and development of the film content in this period, focusing on the questionnaire survey and in-depth interviews of the first-hand data, materials to study the film problems and obstacles, The main manifestations are as follows: the "coding" error of the communicator, the neglect of "city", "multi-nationality", "multiculturalism", the deviation of audience's "decode", the existence of cultural stereotype thinking and cultural misreading; The content of communication is not in line with the expectations of the audience, the key content is not strict, the color of political education is strong, the channel of communication is narrow, the degree of network communication is not high, and so on. It is better for this nation than for the non-native people, for the "inside of the circle" to be better than for the spread of "outside the circle". Finally, combining with the successful experience and existing shortcomings of the Xinjiang minority films since the 21st century, the author tries to try to make an attempt at content, distribution and marketing. The audience and other aspects provide suggestions and opinions on the development of the film, in order to make the film really move from "behind the scenes" to "in front of the stage", to approach the audience, to enter the audience, and to promote the sustainable and healthy development of the Xinjiang minority films. Let the Xinjiang minority films realize the equal dialogue with the world in the form of cultural "soft power". As a whole, what this paper wants to think about is how to win the audience, the market, the better spread of the minority culture, and the good cross-regional, cross-national and cross-cultural communication. To achieve the industrialization of film development.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905;G206

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