【摘要】：對(duì)美的問(wèn)題的探討是一個(gè)令人愉悅、興奮,具有一定的現(xiàn)實(shí)意義和價(jià)值指向,同時(shí)也是一個(gè)有著較大難度的研究課題。對(duì)微電影的美的研究也如是。自2010年第一部微電影《一觸即發(fā)》問(wèn)世以來(lái),微電影的創(chuàng)作便以噴薄的態(tài)勢(shì)強(qiáng)勁發(fā)展,被學(xué)界評(píng)議,成為影像叢林的一支“新秀”。反觀當(dāng)下的微電影,也呈現(xiàn)出良莠不齊的創(chuàng)作情狀。對(duì)其研究還不盡人意,尤其從美學(xué)視域,對(duì)其審美特性、審美價(jià)值等方面的論說(shuō)還不夠完備。美在關(guān)系中生成。微電影美的呈現(xiàn)是影片藝術(shù)價(jià)值得以彰顯的顯性標(biāo)志,也是審美主體加以審美體驗(yàn)的內(nèi)在驅(qū)動(dòng)力。因此,對(duì)微電影的美的相關(guān)問(wèn)題加以深度研究,不僅能對(duì)欣賞主體的審美體驗(yàn)、趣味、理想等加以正確引導(dǎo),還能對(duì)微電影美的實(shí)踐探索提供借鑒和指導(dǎo)作用。正文第一章主要對(duì)微電影的美進(jìn)行本體意義上的追問(wèn)和詮釋。提出微電影的美是在“微共同體”合力之下的感性顯現(xiàn),趨異于單一個(gè)體化力量的審美創(chuàng)造。微電影的這種影像疊化的美,不論生產(chǎn)、傳播還是接受、消費(fèi),都體現(xiàn)了一種審美自由和情境自由。方寸之間的視聽美、故事講述的簡(jiǎn)約美和細(xì)微美、形神兼?zhèn)涞难菁济赖?是微電影的美的主要存在形態(tài)。第二章主要對(duì)微電影美的價(jià)值進(jìn)行剖析。在美學(xué)價(jià)值方面,微電影以近景加特寫的構(gòu)圖方式、光影的組合比照、不完整的聲響節(jié)奏等美學(xué)特征宣告著自身作為審美形式家族“新秀”的新晉身份。同時(shí),微電影以光影繽紛間的瞬時(shí)之魅趨異于傳統(tǒng)電影的美學(xué)價(jià)值。在傳播學(xué)方面,微電影以其審美形態(tài),豐富了傳統(tǒng)的傳播介質(zhì),使傳播話語(yǔ)實(shí)踐得以擴(kuò)容。其商業(yè)價(jià)值主要體現(xiàn)為審美訴求與內(nèi)在的商業(yè)利益的合謀、一些視頻網(wǎng)站經(jīng)濟(jì)效益的飆升等。第三章主要圍繞文化創(chuàng)意、影音技術(shù)、美和技術(shù)與人之間關(guān)系的優(yōu)化等方面對(duì)微電影美的創(chuàng)造進(jìn)行探討。人性的溫度、情感的熱度、理性的深度,流行的元素、經(jīng)典的意象、精品的制作,都是當(dāng)下微電影在思想內(nèi)容、敘事維度等需要著力挖掘的方面。作為與技術(shù)相伴而生的一種藝術(shù)樣式,微電影制作應(yīng)充分掌握當(dāng)下的多媒體技術(shù),將影音之美同科技之力加以縫合,促其由功能層向形式層轉(zhuǎn)化。同時(shí),微電影因受制于播映時(shí)間、片長(zhǎng)等要求,制作者應(yīng)時(shí)刻恪守圖像經(jīng)濟(jì)學(xué)意識(shí),方寸間看世界,短瞬中悟人生。微電影是一種“參與的美學(xué)”。為提升微電影創(chuàng)制者與觀賞者的審美素養(yǎng),微電影美育的推動(dòng)和普及成為當(dāng)下所需關(guān)注的問(wèn)題之一。微電影跨越傳統(tǒng)電影“圍欄”的阻隔,有助于我們思考和重識(shí)美學(xué)研究的邊界問(wèn)題。
[Abstract]:The discussion of the problem of beauty is a pleasant, exciting, practical significance and value direction, but also a difficult research topic. The same is true of the beauty of microfilms. Since the first micro-film "hair-trigger" came out in 2010, the creation of micro-film has developed strongly with the trend of thinning, and has become a "new star" in the image jungle. Look at the present micro-film, but also show mixed creative conditions. Its research is not satisfactory, especially from the perspective of aesthetics, aesthetic characteristics, aesthetic value and other aspects of the theory is not complete. Beauty is generated in relationships. The appearance of micro-film beauty is the dominant symbol of film artistic value and the internal driving force of aesthetic subject to aesthetic experience. Therefore, the in-depth study on the beauty of micro-film can not only guide the aesthetic experience, taste and ideal of the subject, but also provide reference and guidance for the practical exploration of the beauty of micro-film. The first chapter focuses on the beauty of micro-film in the Noumenon significance of inquiry and interpretation. It is pointed out that the beauty of microfilm is a perceptual manifestation under the joint force of "microcommunity", which is different from the aesthetic creation of a single individualized force. The superimposed beauty of microfilm, whether it is produced, disseminated or accepted or consumed, embodies a kind of aesthetic freedom and situational freedom. Audiovisual beauty between square inches, simple beauty and subtle beauty in story narration, acting beauty with both form and spirit are the main existing forms of beauty in micro movies. The second chapter mainly analyzes the value of micro-film beauty. In the aspect of aesthetic value, the micro-film is composed by close-shot and close-up, the combination of light and shadow, the incomplete sound rhythm and other aesthetic features announce its new status as the "new star" of the aesthetic form family. At the same time, micro-film is different from the aesthetic value of traditional film by the instantaneous charm between light and shadow. In the field of communication, micro-film enriches the traditional media and expands the practice of communication discourse with its aesthetic form. Its commercial value is mainly reflected in the collusion between aesthetic appeal and internal commercial interests, the soaring economic benefits of some video websites and so on. The third chapter mainly discusses the creation of the beauty of micro-film from the aspects of cultural creativity, audio-visual technology, beauty and the optimization of the relationship between technology and people. The temperature of human nature, the heat of emotion, the depth of reason, the popular elements, the classical image, the production of fine works are all the aspects that need to be excavated in the ideological content, narrative dimension and so on. As an art style accompanied by technology, microfilm making should fully grasp the present multimedia technology, suture the beauty of video and audio with the force of technology, and promote its transformation from function layer to form layer. At the same time, due to the limitation of the time and length of the film, the producer should always abide by the consciousness of image economics, look at the world from square to inch, and realize life in a short instant. Micro-film is a kind of participating aesthetics. In order to improve the aesthetic literacy of micro film creators and viewers, the promotion and popularization of micro film aesthetic education has become one of the issues needing attention. Micro-film transcends the barrier of traditional film "fence", which helps us to think about the boundary problem of aesthetic research.
【學(xué)位授予單位】：沈陽(yáng)師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：J901

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