【摘要】：微電影從2010年至今2年左右的時(shí)間,已然成為當(dāng)前最為火爆的新媒體影像形式。它從一種草根式的影視作品,以黑馬之勢(shì)殺出,發(fā)展成如今大眾和商家的新寵；它興起于草根,來(lái)源于單反數(shù)碼相機(jī)、DV、小型攝像機(jī)、手機(jī)等數(shù)碼產(chǎn)品,發(fā)展于網(wǎng)絡(luò)上各種內(nèi)容和形式質(zhì)量都顯得參差不齊的“小短片”；它從個(gè)人自拍的隨性表達(dá),漸漸登堂入室,上升到電影的層次。目前,年產(chǎn)數(shù)萬(wàn)部的微電影涵蓋各個(gè)內(nèi)容領(lǐng)域,其發(fā)展速度以及所帶來(lái)的影響力讓人吃驚。筆者在網(wǎng)絡(luò)上搜索“微電影”一詞,關(guān)于微電影的最新排行榜、創(chuàng)作大賽、劇本征集、交流平臺(tái)等消息比比皆是,在門戶網(wǎng)站、視頻網(wǎng)站,貼吧里,論壇上,微電影也占據(jù)著越來(lái)越重要的位置,比如說(shuō),百度貼吧里眾多愛(ài)好微電影的網(wǎng)友,為了促進(jìn)相互間的交流討論自發(fā)組成了“微電影吧”,彼此間昵稱“草根”。為了促進(jìn)微電影的發(fā)展,建貼吧、討論組、qq群、yy頻道等等,他們能找到的交流方式和平臺(tái)五花八門。這一切關(guān)于微電影發(fā)展的火熱態(tài)勢(shì)引起了學(xué)術(shù)界和業(yè)界的關(guān)注,自然,微電影也就成為了一個(gè)新的學(xué)術(shù)研究焦點(diǎn),也就是本文研究的對(duì)象。 微電影是非專業(yè)人士“圓導(dǎo)演夢(mèng)”的首選方式,其最突出的特征就是“微”字,它微時(shí)放映、微制作、微平臺(tái)播出,不像傳統(tǒng)電影那樣需要費(fèi)盡心力充實(shí)豐滿至少120分鐘及以上的時(shí)段,它最長(zhǎng)只需要50分鐘不到；不像傳統(tǒng)電影那樣需要耗費(fèi)千萬(wàn)乃至數(shù)億的投資,它的成本數(shù)千、數(shù)萬(wàn)、數(shù)百萬(wàn)全憑個(gè)人能力及意愿；不像傳統(tǒng)電影要通過(guò)馮小剛口中的只有傻子才能堅(jiān)持下來(lái)的審查制度,以及馬不停蹄的聯(lián)系全國(guó)院線趕場(chǎng)做效應(yīng),它的放映只需要一個(gè)網(wǎng)絡(luò)ID和注冊(cè)賬號(hào)就能將微電影搬上視頻播放平臺(tái)上與網(wǎng)友見(jiàn)面,而且,微電影的主題無(wú)謂史詩(shī)贊歌,也沒(méi)有蓋世英雄,它努力拯救被主流敘事所放逐、被宏大歷史所遺忘的小人物、小命運(yùn)、小細(xì)節(jié)。所以說(shuō),微電影的產(chǎn)生過(guò)程以及內(nèi)容選擇傾向十分適合平民百姓,草根色彩十足。按照傳播學(xué)上的“共同經(jīng)驗(yàn)論”,接近和反映大眾生活的節(jié)目,真正走到草根階層內(nèi)心世界的影像是最容易被理解、接受和認(rèn)同的,所以微電影伴隨著草根文化的表征能如此火得發(fā)紫。然而,就目前學(xué)術(shù)界對(duì)于微電影還沒(méi)有形成全面的多學(xué)科的分析系統(tǒng),特別是將草根文化與微電影聯(lián)系起來(lái),在草根文化的視野下分析微電影,學(xué)界和業(yè)界更是沒(méi)有這一相關(guān)角度的研究。所以筆者決定選取這一角度,用草根文化視角,試圖窺測(cè)出草根文化在當(dāng)下微電影中的開(kāi)發(fā)利用,微電影行業(yè)如今的發(fā)展現(xiàn)狀,分析出所存在的不足和局限之處,而后小論微電影的未來(lái)突圍之道,以期對(duì)微電影進(jìn)行相對(duì)完整全面的研究,希望能彌補(bǔ)現(xiàn)階段研究的不足,為后面的研究鋪路搭橋。 本文首先對(duì)微電影和草根文化做一個(gè)理論上的闡述,為微電影之所以能在草根文化的視野下闡述尋找一個(gè)切入點(diǎn)；其次,通過(guò)對(duì)草根文化的剖析,其所蘊(yùn)含的娛樂(lè)性、戲謔性以及貼近生活、貼近實(shí)際、貼近群眾等特點(diǎn),旨在講出草根文化對(duì)于微電影的價(jià)值之所在,它讓“人人都可以成為導(dǎo)演”不再是一句空洞的吶喊；再次從傳播學(xué)視角以及符號(hào)審美角度審視草根文化之于微電影的價(jià)值意義,揭示從草根文化視角研究微電影不止在實(shí)踐上有跡可循,從理論上看亦是有其根據(jù)點(diǎn)；再次,分析當(dāng)今微電影市場(chǎng)、微電影行業(yè)中的現(xiàn)狀究竟是呈現(xiàn)何種樣貌,詳細(xì)研究其中所顯現(xiàn)出來(lái)的特征,從而能從中找出阻礙微電影發(fā)展壯大的局限和不足來(lái)；最后,再根據(jù)所剖析出的弊端探討微電影未來(lái)的突圍之道,不僅要把好微電影傳播內(nèi)容這一關(guān),更是要對(duì)微電影傳播形式方面多加注意,與此同時(shí),還要提防商業(yè)體系對(duì)微電影文化的“操控"以及精英文化對(duì)微電影草根文化的“收編”。
[Abstract]:Micro-film has become the most popular form of new media image since 2010 to about 2012. It has developed from a grass-roots film and television works to a new favorite of the public and business. It springs up in the grass-roots, from digital SLR cameras, DV, small cameras, mobile phones and other digital products, developed in The quality of various content and formats on the Internet is uneven; it has gradually risen from the casual expression of self-portraits to the level of movies. The word "micro-film" is used to describe the latest micro-film charts, creative contests, screenplay collections, and communication platforms. In portals, video websites, post bars and forums, micro-movies are also playing an increasingly important role. For example, many micro-film lovers in Baidu Post Bar, in order to promote mutual communication and discussion. In order to promote the development of micro-films, posting bar, discussion group, QQ group, YY channel and so on, they can find a variety of communication methods and platforms. All these hot trends about the development of micro-films have attracted the attention of academia and industry, naturally, micro-films have become. A new academic research focus, that is, the object of this study.
Microfilm is the preferred way for non-professionals to fulfill their "director's dream". Its most prominent feature is the word "microfilm". It is microprojection, microproduction, microplatform broadcasting, unlike traditional movies, which require at least 120 minutes or more of effort to enrich the period, it only takes less than 50 minutes; unlike traditional movies, which need to consume less than 50 minutes. It costs tens of millions, tens of thousands and millions of dollars to invest, and it costs thousands, tens of thousands, and millions of dollars, depending on one's ability and willingness; unlike the censorship system that Feng Xiaogang says only fools can stick to, and the rush to connect national campuses, its screening requires only a network ID and a registered account. The theme of micro-movies is neither epic hymn nor hero of the world. It tries hard to save the little people, small fate and small details who are banished by the mainstream narrative and forgotten by the grand history. According to the communicative theory of "common experience", the images of the inner world of the grassroots are the easiest to understand, accept and identify with. Therefore, micro-movies can be so hot with the representation of grassroots culture. However, the academic circles are still very interested in micro-movies at present. There is no comprehensive multi-disciplinary analysis system, especially the connection between grassroots culture and micro-film. There is no research from this angle in the field of view of grassroots culture. So the author decided to choose this angle and use the perspective of grassroots culture to try to find out the grassroots culture in the current micro-film. In the development and utilization of micro-film industry, the present situation of development, analysis of the existing shortcomings and limitations, and then a brief discussion of the future breakthrough of micro-film, with a view to a relatively complete and comprehensive study of micro-film, hoping to make up for the lack of research at this stage, pave the way for future research.
Firstly, this paper makes a theoretical exposition of micro-film and grassroots culture, in order to find a breakthrough point for the micro-film in the perspective of grassroots culture; secondly, through the analysis of grassroots culture, its entertainment, playfulness and close to life, close to reality, close to the masses and other characteristics, aimed at explaining the grass-roots culture. For the value of micro-film, it makes "everyone can be a director" is no longer a hollow cry; again from the perspective of communication and symbolic aesthetics to examine the value of grass-roots culture in micro-film, revealing that the study of micro-film from the perspective of grass-roots culture is not only in practice but also in theory. Thirdly, it analyzes the present situation of the micro-film market and the characteristics of the micro-film industry so as to find out the limitations and shortcomings that hinder the development of the micro-film industry. Finally, it discusses the breakthrough of the micro-film industry in the future according to the disadvantages analyzed. We should not only pay more attention to the content of micro-film communication, but also pay more attention to the form of micro-film communication. At the same time, we should guard against the "manipulation" of micro-film culture by the commercial system and the "incorporation" of the elite culture into the grass-roots culture of micro-film.
【學(xué)位授予單位】：安徽大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905

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