本文選題：《神探夏洛克》 + 道格拉斯·麥金農(nóng)　； 參考：《電影文學(xué)》2017年18期

【摘要】：《神探夏洛克:可惡的新娘》脫胎于BBC的迷你劇《神探夏洛克》,電影不僅成功地獲得了原迷你劇觀眾的肯定,又俘獲了大量之前并未接觸過迷你劇的觀眾,堪稱一部消費(fèi)時(shí)代下的成功之作。在當(dāng)前,社會(huì)模式的重心已經(jīng)從生產(chǎn)轉(zhuǎn)為消費(fèi),這也導(dǎo)致了人們?cè)谶M(jìn)行電影消費(fèi)時(shí)的訴求點(diǎn)發(fā)生了改變。如何把握這種訴求,《神探夏洛克》為我們提供了一個(gè)值得借鑒的范本。文章從劇情互動(dòng)性、思想轉(zhuǎn)向、視覺文化三方面,從消費(fèi)時(shí)代入手分析這部電影。
[Abstract]:"Sherlock: abominable Bride" born out of the BBC mini-series Sherlock, the film not only succeeded in winning recognition from the original mini-series, but also captured a large number of viewers who had not been in contact with the mini-series before. It can be regarded as a successful work in the era of consumption. At present, the focus of the social model has shifted from production to consumption, which has led to a change in the demands of people in the process of film consumption. How to grasp this appeal, Sherlock provides us with a model worthy of reference. The article analyzes the film from three aspects of interactive plot, ideological turn and visual culture.
【作者單位】： 重慶三峽學(xué)院;
【分類號(hào)】：J905
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本文編號(hào)：2108485