本文選題：電影 + 觀眾　； 參考：《中國藝術(shù)研究院》2013年博士論文

【摘要】：一直以來,觀眾被簡單的認定為一部或另一部電影觀者、一類或者另一類電影類型的愛好者、亦或是某一明星的粉絲。在中國電影界,從最初的流行雜志、報刊、書籍等紙質(zhì)媒介,到如今的電視、廣播、互聯(lián)網(wǎng)等電子媒介,民眾、學(xué)者以及公眾話語對觀眾的爭論無處不在。但無論是1949年前將電影視作新奇玩意的熱鬧型觀眾、將電影視作認知世界工具的學(xué)習(xí)型觀眾,又或是將普通觀眾視作庸俗之輩的智識觀眾,亦或是在建國后成為政治宣傳對象的觀眾、改革開放后作為電影商品消費者的觀眾,電影觀眾早現(xiàn)在公眾輿論、研究者著作內(nèi)的歷史形象基本沒有改變。他們一直是被動的且缺乏自律的社會群體,需要被引導(dǎo)、被教育。與之相對,他們作為自然人所應(yīng)有的文化興趣、理解力和信息需求卻被湮沒了。 本文的寫作,并非是為了重新論證觀眾作為自然人所應(yīng)具備的主觀能動性,那在人文學(xué)科有關(guān)受眾接受領(lǐng)域的研究中已有詳細的論述。但是,觀眾作為自然人的屬性是本文論述的主要基礎(chǔ),所以文中筆者十分關(guān)注觀眾觀影習(xí)慣的演變軌跡。從最初與京戲、雜耍、曲藝等傳統(tǒng)娛樂項目緊密聯(lián)系在一起的隨意交流、走動不受約束的觀影習(xí)慣,到現(xiàn)代影院出現(xiàn)后那種“柏拉圖洞穴”再演般自覺受到約束的觀影習(xí)慣,觀眾對電影的認識隨著觀影習(xí)慣的變化發(fā)生了翻天覆地的變化。在研究時,筆者發(fā)現(xiàn),現(xiàn)今作為爭論的那些議題在歷史上早已被翻來覆去地論述過,有時名目相同,有時花樣繁多。筆者以為,這種輪回式事件發(fā)生的主要原因是：公眾話語建構(gòu)觀眾、觀眾表達欲望的行為模式不僅會依據(jù)不同時期的社會事件而相異,更會因為觀眾作為個體成長中受到像家庭、社會、民族、國家、文化等因素的影響而相似。 本文的目的旨在提供一個中國電影觀眾的成長史,尤其是通過比較年代較早的公眾輿論中有關(guān)電影觀眾的爭鳴歷史,通過梳理不同歷史時期的公眾話語表達,描述中國觀眾如何去認識電影的過程。
[Abstract]:Viewers have long been identified simply as viewers of one or another film, fans of one or another type of film, or fans of a certain star. In the Chinese film industry, from the original popular magazines, newspapers, books and other paper media, to today's television, radio, the Internet and other electronic media, the public, scholars and public discourse on the public debate is everywhere. But whether it was a lively audience that saw movies as novelty before 1949, a learning audience that viewed film as a tool for understanding the world, or an intellectual audience who regarded ordinary audiences as vulgar, Or the audience who became the object of political propaganda after the founding of the people's Republic of China, the audience as the consumer of film commodity after the reform and opening up, the public opinion of the film audience as early as now, the historical image in the researcher's works basically has not changed. They have been passive and undisciplined social groups that need to be guided and educated. By contrast, their cultural interests, understanding and information needs as natural persons have been obliterated. The writing of this paper is not to reprove the subjective initiative of the audience as a natural person, which has been discussed in detail in the field of audience acceptance in the humanities. However, the nature of the audience as a natural person is the main basis of this paper, so the author pays close attention to the evolution of audience viewing habits. From the casual exchanges closely associated with traditional entertainment items such as Beijing Opera, vaudeville, qu Yi, and so on, and the unrestrained movie-watching habits, to the "Plato Cave" movie viewing habits that were consciously restrained after the emergence of modern cinemas, The audience's understanding of the film has changed dramatically with the change of viewing habits. In the course of research, the author finds that the issues that have been debated today have been discussed over and over again in history, sometimes in the same name, sometimes in a variety of ways. The author thinks that the main reason for this kind of recurrent events is that the public discourse constructs the audience, and the behavior patterns of the audience expressing desire will not only be different according to the social events of different periods. They are also influenced by factors such as family, society, nationality, country, culture and so on. The purpose of this paper is to provide a history of the growth of Chinese film audience, especially by comparing the history of public opinion about film audience in earlier years, and by combing the public discourse of different historical periods. Describe how Chinese audiences get to know movies.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2013
【分類號】：J909.2

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本文編號：1900159