本文選題：期待視域 + 心理定式　； 參考：《電影文學(xué)》2017年06期

【摘要】：隨著傳播技術(shù)的進(jìn)步,很多國家的娛樂消費(fèi)者的娛樂審美水平和傾向都趨于同化。觀眾公共期待視域是影視作品的活動范圍,是觀眾和創(chuàng)作者相互影響共同建立的范圍。只有了解觀眾的審美經(jīng)驗(yàn),了解觀眾的期待視域,才能最大限度地保證影視作品被觀眾接受。而影片《世界盡頭》的雙故事線設(shè)計(jì)看似卻脫離了公共期待視域。其成功在于在商業(yè)娛樂層面滿足了觀眾輕松觀賞的需求,不僅開創(chuàng)了新的故事模式,還以兩個不同角度把贊美自由的主題表達(dá)得特別深刻。
[Abstract]:With the development of communication technology, entertainment aesthetic level and tendency of entertainment consumers tend to assimilate in many countries. The horizon of public expectation of audience is the scope of activity of film and television works, and the scope that the audience and creators influence each other. Only by understanding the aesthetic experience of the audience and understanding the horizon of the audience's expectation can the film and television works be accepted by the audience to the maximum extent. The double-story line of the film the end of the World seems to be out of view of public expectation. Its success lies in meeting the needs of the audience to watch easily at the level of commercial entertainment. It not only creates a new story model, but also expresses the theme of freedom from two different angles.
【作者單位】： 東北師范大學(xué)人文學(xué)院;
【基金】：吉林省教育廳“十二五”社科項(xiàng)目“觀眾認(rèn)知與影視虛構(gòu)的關(guān)系研究”的階段成果
【分類號】：J905
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本文編號：1904987