發(fā)布時間：2018-09-10 12:52

【摘要】：對美的問題的探討是一個令人愉悅、興奮,具有一定的現實意義和價值指向,同時也是一個有著較大難度的研究課題。對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)》問世以來,微電影的創(chuàng)作便以噴薄的態(tài)勢強勁發(fā)展,被學界評議,成為影像叢林的一支“新秀”。反觀當下的微電影,也呈現出良莠不齊的創(chuàng)作情狀。對其研究還不盡人意,尤其從美學視域,對其審美特性、審美價值等方面的論說還不夠完備。美在關系中生成。微電影美的呈現是影片藝術價值得以彰顯的顯性標志,也是審美主體加以審美體驗的內在驅動力。因此,對微電影的美的相關問題加以深度研究,不僅能對欣賞主體的審美體驗、趣味、理想等加以正確引導,還能對微電影美的實踐探索提供借鑒和指導作用。正文第一章主要對微電影的美進行本體意義上的追問和詮釋。提出微電影的美是在“微共同體”合力之下的感性顯現,趨異于單一個體化力量的審美創(chuàng)造。微電影的這種影像疊化的美,不論生產、傳播還是接受、消費,都體現了一種審美自由和情境自由。方寸之間的視聽美、故事講述的簡約美和細微美、形神兼?zhèn)涞难菁济赖?是微電影的美的主要存在形態(tài)。第二章主要對微電影美的價值進行剖析。在美學價值方面,微電影以近景加特寫的構圖方式、光影的組合比照、不完整的聲響節(jié)奏等美學特征宣告著自身作為審美形式家族“新秀”的新晉身份。同時,微電影以光影繽紛間的瞬時之魅趨異于傳統(tǒng)電影的美學價值。在傳播學方面,微電影以其審美形態(tài),豐富了傳統(tǒng)的傳播介質,使傳播話語實踐得以擴容。其商業(yè)價值主要體現為審美訴求與內在的商業(yè)利益的合謀、一些視頻網站經濟效益的飆升等。第三章主要圍繞文化創(chuàng)意、影音技術、美和技術與人之間關系的優(yōu)化等方面對微電影美的創(chuàng)造進行探討。人性的溫度、情感的熱度、理性的深度,流行的元素、經典的意象、精品的制作,都是當下微電影在思想內容、敘事維度等需要著力挖掘的方面。作為與技術相伴而生的一種藝術樣式,微電影制作應充分掌握當下的多媒體技術,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化。同時,微電影因受制于播映時間、片長等要求,制作者應時刻恪守圖像經濟學意識,方寸間看世界,短瞬中悟人生。微電影是一種“參與的美學”。為提升微電影創(chuàng)制者與觀賞者的審美素養(yǎng),微電影美育的推動和普及成為當下所需關注的問題之一。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美學研究的邊界問題。
[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.
【學位授予單位】：沈陽師范大學
【學位級別】：碩士
【學位授予年份】：2016
【分類號】：J901

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