本文選題：影像傳播 + 受眾分析　； 參考：《西南大學(xué)》2013年碩士論文

【摘要】：當(dāng)前狀況下,伴隨著互聯(lián)網(wǎng)在全球范圍內(nèi)的全面普及,影像傳播逐漸地發(fā)展成為了傳播的主要載體,并且大有全面替代其它形式傳播媒體的發(fā)展趨勢,受到這種情況的影響,以網(wǎng)絡(luò)作為發(fā)展載體,同時也是以影像作為媒介的網(wǎng)絡(luò)影像藝術(shù)逐漸地浮現(xiàn)了出來,成為了一門獨立地學(xué)科。同時影像同網(wǎng)絡(luò)之間逐漸地構(gòu)成了一個相對嶄新的世界,這一世界的存在已經(jīng)從根本上改變了傳統(tǒng)意義上的人們對于世界的認(rèn)知。 面對著當(dāng)前“影像”時代的到來,我們在享受其所帶來的福利的同時還應(yīng)當(dāng)要能夠?qū)τ谄渌a(chǎn)生的影響進(jìn)行估計,從另外一個角度上講指的就是,面對著這種流速越來越快的整個傳播學(xué)科的發(fā)展和完善,我們可以逐漸地了解到大眾對于影像的“需求”從根本上講是一種“事件性”的需求,同時也是作為一種在發(fā)展軌跡當(dāng)中保持不間斷發(fā)生,甚至在某些時候足以扭轉(zhuǎn)走向,產(chǎn)生實質(zhì)性變化的一種“新”的需求。受到這種情況的影響,我們當(dāng)前所正在面對著是是一種本體式的生成化理論,而在這種理論形成的同時也使得其它相關(guān)方面發(fā)生了相應(yīng)的轉(zhuǎn)化。這種轉(zhuǎn)化所形成的“新”意不再指的是傳統(tǒng)意義上的過去唯心論所訴諸的一種天賦,同時也不僅僅指的是唯物論當(dāng)中所重點強調(diào)的結(jié)構(gòu)以及形式的概念,從另外一個角度上講,所謂的“新”,不再指的是傳統(tǒng)意義上的形容詞格,而是實現(xiàn)動態(tài)發(fā)展過程當(dāng)中的“獨特點”,同時也是作為行動當(dāng)中的“有效點”而存在的,綜上所述所謂的“新”即指的是一種介入的狀況。由此我們也可以知道,當(dāng)我們開始逐漸地將目光轉(zhuǎn)移到新影像方面的相關(guān)問題時,在更多時候則可以將該問題逐漸地轉(zhuǎn)化成為以下幾種情況：首先明確所謂的新影像指是就是一種足以能夠成事件的影像概念。其次,在這樣的一種生產(chǎn)過度到消費的事實發(fā)展過程當(dāng)中,我們也可以直接地了解到：當(dāng)前狀況下影像是完全可以實現(xiàn)不作為任何存在的再現(xiàn)形式而存在,而應(yīng)當(dāng)是作為整個事件而存在的,受到此種情況的影響,該事件性的生成在更大程度上足以作為“撼動”既定事實的一種次序再現(xiàn)。 本文共分為五部分,第一部份是論述是關(guān)于影像藝術(shù)傳播的發(fā)展及其現(xiàn)狀以及受眾對于傳統(tǒng)影像的認(rèn)知,接受以及消費。第二部分則是詳細(xì)論述網(wǎng)絡(luò)中新影像的表現(xiàn)研究以及存在的現(xiàn)實意義,從新影像的現(xiàn)狀、內(nèi)容、分類等方面入手,進(jìn)行歸納。第三部分主要討論新影像的傳播方式以及商業(yè)模式。第四部分主要論述新影像作品的創(chuàng)作者和觀眾。即新影像的觀眾和新影像的作者相互轉(zhuǎn)化,新影像的出現(xiàn),使得大眾傳播的影像掌握在少數(shù)機構(gòu)手中的狀態(tài)得以改變,影像的話語權(quán)因此得到改變。本文立足于網(wǎng)絡(luò)時代影像傳播的轉(zhuǎn)型,探討影像藝術(shù)傳播在網(wǎng)絡(luò)時代出現(xiàn)的新特點和傳播形式的變化趨勢,為今后新媒體影像藝術(shù)的創(chuàng)作和傳播提供理論依據(jù),并對可能出現(xiàn)的困境尋找出路。
[Abstract]:Under the current situation, with the universal popularization of the Internet in the world, image communication has gradually developed into the main carrier of communication, and it has a comprehensive substitute for the development trend of other forms of communication media, which is influenced by this situation, taking the network as the carrier of development, and is also a network image art with the image as the medium. The operation gradually emerged to become an independent subject, and the image and the network gradually formed a relatively new world. The existence of the world has fundamentally changed the traditional sense of the people's perception of the world.
In the face of the arrival of the current "image" era, we should also be able to estimate the impact of the benefits that it brings, and in the other way, we can gradually understand the popularity of the public in the face of the development and improvement of the whole communication discipline that is growing faster and faster. The "demand" in the image is essentially a "event" demand, but it is also a "new" demand that remains uninterrupted in the path of development, and even at some time is enough to reverse the trend and produce substantial changes. The noumenon theory of generative theory, while the formation of this theory, has also made the corresponding transformation of other related aspects. The "new" meaning formed by this transformation is no longer refers to a natural gift of the traditional sense of the past idealism, and not only the structure and shape emphasized in materialism. From another point of view, the concept of "new" is no longer referred to as the adjective in the traditional sense, but the "one characteristic" in the process of dynamic development, but also as an "effective point" in action. In summary, the so-called "new" refers to a state of intervention. It can also be known that when we begin to gradually shift our eyes to problems related to new images, it is more time to gradually transform the problem into the following cases: first, it is clear that the so-called new image refers to an image that is enough to be an event. In the course of the factual development of the fee, we can also directly understand that under the current situation, the image is completely possible to exist as a form of reproduction, but that it should exist as a whole event, which is influenced by this situation to a greater extent as a "shake" set. A real order of reproduction.
This article is divided into five parts. The first part is about the development and current situation of the image art communication and the audience's cognition, acceptance and consumption for the traditional image. The second part is the detailed exposition of the performance of the new image in the network and its practical significance, from the status, content and classification of the new image. The third part mainly discusses the mode of communication and the business model of the new image. The fourth part mainly discusses the creator and audience of the new image. That is, the new image of the audience and the new image of the author transform each other, the appearance of the new image, so that the image of the mass media can be changed in the hands of a few organizations. This article, based on the transformation of the image transmission in the network age, discusses the new characteristics and the changing trends of the image art communication in the network age, and provides a theoretical basis for the creation and dissemination of the new media image art, and seeks a way out for the possible predicament.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：G206;J943

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相關(guān)期刊論文 前1條

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本文編號：1960763