【摘要】：進(jìn)入新世紀(jì)以來(lái)，伴隨著互聯(lián)網(wǎng)技術(shù)日新月異的發(fā)展，人們的生產(chǎn)、生活方式都在隨之改變。傳統(tǒng)媒體交互性、即時(shí)性較差的缺陷，在于互聯(lián)網(wǎng)的較量中被無(wú)限放大。而這帶來(lái)的結(jié)果就是“微時(shí)代”的來(lái)臨：微博、微信、微小說(shuō)、微電影等等，，在人們享受科技帶來(lái)便捷、樂趣的同時(shí)，其接受方式、接受習(xí)慣也在發(fā)生潛移默化的改變——“微”似乎成了現(xiàn)代人的一種生活態(tài)度�！安莞幕睘榇淼拇蟊娢幕〈熬⑽幕钡漠�(dāng)下，“微”不僅是以一種形式，更彰顯了一種大眾的文化話語(yǔ)權(quán)。 而這其中，文化的多元性、傳播主體的全民性、與市場(chǎng)緊密結(jié)合的商品屬性等體現(xiàn)的最為淋漓盡致的，正是微電影的產(chǎn)生及發(fā)展繁榮。微電影不僅是平民文化的召喚，也是科技發(fā)展的產(chǎn)物。從其誕生之日起，它的制作主體、傳播媒介、傳播效應(yīng)等都與網(wǎng)絡(luò)密不可分。平民性、交互性、低門檻構(gòu)成了微電影的幾大特點(diǎn)。 新事物的產(chǎn)生，必然經(jīng)歷一個(gè)發(fā)展變化的過(guò)程，微電影也不例外。從最初的一鳴驚人，到雨后春筍般的“極度”繁榮，微電影僅僅用了不到5年的時(shí)間。爆發(fā)式的發(fā)展既體現(xiàn)出其蓬勃的生命力，也讓微電影產(chǎn)業(yè)魚龍混雜、泥沙俱下。可以說(shuō)，我國(guó)微電影產(chǎn)業(yè)的發(fā)展機(jī)遇與挑戰(zhàn)并存。 經(jīng)濟(jì)全球化帶來(lái)消費(fèi)主義之風(fēng)盛行，文化產(chǎn)業(yè)作為與人們生活息息相關(guān)的一大產(chǎn)業(yè)，正在全世界范圍內(nèi)起著舉足輕重的作用。而微電影自身的商業(yè)屬性也讓它具有更多的發(fā)展?jié)摿Γ虡I(yè)微電影的發(fā)展之路走向何方，是目前學(xué)界、業(yè)界爭(zhēng)論不休的問(wèn)題之一。 關(guān)注微電影，研究其生存現(xiàn)狀與發(fā)展前景，有利于實(shí)現(xiàn)我國(guó)文化產(chǎn)業(yè)的繁榮富強(qiáng)，不僅符合先進(jìn)文化的發(fā)展方向，也有利于振興民族文化產(chǎn)業(yè)，帶動(dòng)生產(chǎn)力向前發(fā)展。本文通過(guò)對(duì)現(xiàn)有文獻(xiàn)的比較研究，對(duì)微電影產(chǎn)業(yè)的深入了解，對(duì)若干微電影人的直接采訪，在掌握大量材料的基礎(chǔ)上，試圖對(duì)我國(guó)微電影發(fā)展現(xiàn)狀及趨勢(shì)作一研究。在做文獻(xiàn)研究時(shí)，本人發(fā)現(xiàn)目前關(guān)于微電影的理論專著雖不敢說(shuō)付之闕如，但也屬鳳毛麟角，僅僅在一些當(dāng)代電影藝術(shù)研究的專著中有略微提及。因此，本文所作研究在相關(guān)領(lǐng)域具有一定積極意義。
[Abstract]:In the new century, with the rapid development of Internet technology, people's production and lifestyle are changing. The limitation of traditional media interactivity and instant is that it is magnified infinitely in the contest of Internet. And the result of this is the advent of "micro-age": Weibo, WeChat, micro-fiction, micro-film, etc., while people enjoy the convenience and fun of technology, the way they accept it. Acceptance habits are also changing imperceptibly-"micro" seems to become a life attitude of modern people. The popular culture represented by "grassroots culture" replaces "elite culture" at present, "micro-culture" is not only a form, but also a kind of cultural discourse power of the masses. Among them, the diversity of culture, the whole people of the communication subject, the commodity attribute closely combined with the market and so on are the most incisive and incisive, it is the emergence and development and prosperity of the micro-film. Micro-film is not only the call of civilian culture, but also the product of the development of science and technology. From the day of its birth, its main body, communication media, communication effect and so on are closely related to the network. Populace sex, interactivity, low doorsill constitute a few big characteristics of microfilm. The emergence of new things must go through a process of development and change, micro-film is no exception. From the initial blockbuster to the mushrooming boom, microfilms took less than five years. Explosive development not only reflects its vigorous vitality, but also makes the micro-film industry mixed, muddy. It can be said that the development of micro-film industry opportunities and challenges coexist. Economic globalization brings about the prevailing trend of consumerism, and cultural industry, as a major industry closely related to people's life, is playing an important role in the world. The commercial attributes of micro-film also make it have more potential for development. It is one of the controversial issues in academia and industry that where the development of commercial micro-film is going. Paying attention to the micro film, studying its survival status and development prospect is beneficial to the prosperity and strength of our cultural industry, which is not only in line with the direction of the development of advanced culture, but also conducive to the revitalization of the national cultural industry and the development of the productive forces. Based on a comparative study of the existing literature, a deep understanding of the microfilm industry, and a direct interview with a number of microfilmmakers, and on the basis of mastering a large number of materials, this paper attempts to make a study on the present situation and trend of the development of microfilm in China. In the course of literature research, I found that although the theoretical monographs on microfilm are not yet available, they are rare and only mentioned in some monographs of contemporary cinematographic art. Therefore, the research in this paper has certain positive significance in related fields.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905;J943

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相關(guān)期刊論文 前1條

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本文編號(hào)：2212347