發(fā)布時間：2018-05-13 12:16

  本文選題：微電影 + 傳播學(xué)��； 參考：《成都理工大學(xué)》2013年碩士論文

【摘要】：隨著互聯(lián)網(wǎng)技術(shù)的不斷發(fā)展,人類社會形成了后現(xiàn)代“碎片化”文化傳播環(huán)境,時間被分割成了零散的一段段,人們開始習(xí)慣于通過手機(jī)、互聯(lián)網(wǎng)、SNS社交網(wǎng)絡(luò)以及即時通訊工具來獲取信息和娛樂釋放。同時視覺文化時代的來臨,讓人們的娛樂生活和文學(xué)藝術(shù)更趨于影像化。2010年10月紅透互聯(lián)網(wǎng)的《老男孩》和同年12月具有里程碑意義的由凱迪拉克投拍的《一觸即發(fā)》,讓“微電影”這種以新媒體為主要播放平臺,具有微時長(一般不超過40分鐘)、微投資(相對于傳統(tǒng)電影、電視而言)、微周期(制作時間最長不超過一個月)新的電影藝術(shù)形式備受追捧�！独夏泻ⅰ�、《四夜奇譚》、《一觸即發(fā)》、《嘻哈三部曲》等一大批優(yōu)秀作品大受歡迎,受眾對微電影的接受和喜愛程度明顯提升。 雖然微電影的理論研究尚未成熟,理論體系也還未搭建完成,業(yè)界對微電影也有著不同的看法,但可以肯定的是,微電影正在以堅實的步伐和無可爭議的井噴發(fā)展融入到我們的生活。相比較對微電影營銷效果、傳播實踐的大量研究,學(xué)界對微電影敘事藝術(shù)、藝術(shù)價值以及審美特征等的研究都只是淺嘗輒止。 在新媒體數(shù)字化浪潮下,微電影作為一個新生事物,還擁有巨大的藝術(shù)價值發(fā)展?jié)摿蜕虡I(yè)價值。雖然,微電影興起于廣告營銷的需要,在觀察了近兩年共二十余部成功的微電影案例后,發(fā)現(xiàn)“內(nèi)容為王”是微電影傳播成功的不二法門。而微電影內(nèi)容的實質(zhì)便是,導(dǎo)演是否講了一個好的故事,是否成功地運用了諸如畫面、鏡頭、聲音、色彩等敘事元素�？偠灾�,微電影的好壞是由其敘事的成功決定的。德國著名電影導(dǎo)演施隆多夫曾說：“依托于互聯(lián)網(wǎng)媒體傳播的短篇幅電影是一場電影技術(shù)革命。它要求從它的內(nèi)容、創(chuàng)作到一系列的完成,都必須高度簡單化,包括整個敘事的風(fēng)格�！痹趺磸哪阁w的傳播電影中找到適合網(wǎng)絡(luò)新媒體這一平臺、適合數(shù)字化發(fā)展下的敘事語言和視聽元素敘事手法,從而達(dá)到相當(dāng)?shù)膫鞑バЧ@得尤為重要。微電影的敘事藝術(shù)、傳播特征分析的研究對整個新媒體文化產(chǎn)業(yè)的發(fā)展具有非常重要的理論研究價值和實踐指導(dǎo)意義。 然而微電影不同于傳統(tǒng)電影,它短小精悍、網(wǎng)絡(luò)特色鮮明、其參與性超越了傳統(tǒng)電影的欣賞性,同時,消解了傳統(tǒng)電影的權(quán)威性,有其獨特的傳播特點和敘事特征。在現(xiàn)實創(chuàng)作中,由于微電影的創(chuàng)作門檻低以及一些創(chuàng)作者對微電影敘事藝術(shù)的理解不足,導(dǎo)致微電影的制作水準(zhǔn)良莠不齊,在網(wǎng)絡(luò)中呈現(xiàn)出產(chǎn)出大、精品少、傳播效果不理想的問題。 本文綜合運用傳播學(xué)、影視藝術(shù)學(xué)、電影敘事學(xué)、符號學(xué)、影視美學(xué)等相關(guān)理論與方法對微電影的敘事繼續(xù)進(jìn)行了探索研究。本文第一章是緒論,內(nèi)容為本文的選題意義——充實微電影敘事藝術(shù)的理論建設(shè)和指導(dǎo)實踐、文獻(xiàn)綜述以及研究方法。 第二章為微電影的概述。第一部分,首先對微電影的概念進(jìn)行了簡要界定。其次以時間為軸,重要的微電影作品和事件為節(jié)點,回顧了微電影在中國的發(fā)展歷史；然后簡要分析了微電影的發(fā)展現(xiàn)狀：兩極分化嚴(yán)重、原創(chuàng)和專業(yè)制作并行、內(nèi)容為王。第二部分從網(wǎng)絡(luò)數(shù)字媒體技術(shù)的成熟、后現(xiàn)代碎片化文化傳播環(huán)境和視覺文化時代的來臨、“三微”屬性符合時代需求以及商業(yè)廣告的需求四個方面分析了微電影興起的原因。 第三章從傳播學(xué)視角下進(jìn)行微電影敘事分析。第一部分是基于“媒介即訊息”理論下的微電影敘事分析。第二部分分析了微電影的五個傳播特征,分別為傳播過程具有互動性、傳播主題的專業(yè)化與大眾化、傳播內(nèi)容豐富、傳播方式多元化時效性強以及分眾化的傳播模式和多樣的傳播渠道。第三部分從四個方面分析了微電影的傳播受眾。第四部分為微電影的傳播效果分析。 第四章為微電影的敘事研究。首先,簡要地闡述了敘事學(xué)和當(dāng)今四種流派的電影敘事理論。隨后,以前兩節(jié)的理論為支撐結(jié)合實例分析了微電影的四個敘事特征,分別是敘事主題平民化,新媒體環(huán)境下草根文化興起、敘事類型生活化、網(wǎng)絡(luò)化的敘事風(fēng)格,狂歡化的語境下的微電影文化和碎片化、非線性、互動的敘事結(jié)構(gòu)。再結(jié)合熱門微電影從影像的符號化表達(dá)、聲音功能的發(fā)揮和色彩及動漫的運用來分析微電影自由大膽的敘事元素運用。最后還從結(jié)合案例解析了微電影多元的敘事價值取向和青春化的敘事主題。 第五章的第一部分列舉了目前我國微電影敘事藝術(shù)發(fā)展出現(xiàn)的問題：一、跟風(fēng)模仿明顯、質(zhì)量良莠不齊；二、過于注重視覺狂歡而忽視了深度思考；三、部分微電影只注重消費性,媚俗化明顯,缺乏人文關(guān)懷；四、受眾和市場的發(fā)展悖論。第二部分為解決建議：一、倡導(dǎo)對于微電影藝術(shù)價值的深度挖掘；二、提倡和扶持微電影原創(chuàng),不斷創(chuàng)新表現(xiàn)手法；三、在提倡多元化表達(dá)的前提下,注重人文關(guān)懷。 最后本文結(jié)語：微電影作為一門新型的視聽藝術(shù),其美學(xué)價值還遠(yuǎn)未被充分發(fā)掘。 本文的創(chuàng)新之處是從傳播學(xué)視角出發(fā),從敘事藝術(shù)和影視語言兩方面深度地解讀了微電影,指出了微電影敘事目前存在的問題,并提出了解決意見,希望能為微電影的長期健康發(fā)展提供參考和借鑒。
[Abstract]:With the continuous development of Internet technology, human society has formed a post modern "fragmented" cultural communication environment. Time has been divided into a scattered section. People began to get used to the release of information and entertainment through mobile phones, the Internet, SNS social networks and instant communication tools. At the same time, the coming of the age of visual culture has brought people to the people. The entertainment life and literature and art tend to be more imaging.2010 October red transparent Internet "old boy >" and the milestone of the same year in December, which was made by Cadillac, which made "micro film" the main playing platform with new media, with a micro time (generally not more than 40 minutes), micro investment (compared with traditional movies, On television), the new form of film art is highly sought after in the micro cycle (the longest time not more than a month). < old boy > < four nights', < 1 touch >, the hip-hop trilogy > a large number of excellent works are popular, and the audience's acceptance and affection for the micro film are obviously improved.
Although the theoretical research of micro film has not yet matured, the theoretical system has not been completed yet, the industry has different views on microfilms, but it is certain that microfilms are integrating into our lives with solid steps and undisputed blowout. The research on the narrative art, artistic value and aesthetic characteristics of micro films is only a tad.
Under the tide of new media digitization, micro film, as a new thing, also has great potential for the development of artistic value and commercial value. Although micro film is rising in the need of advertising marketing, after observing more than twenty successful micro film cases in the past two years, it is found that "content is King" is not the second method of the success of micro film communication. The essence of the film is whether the director has told a good story, whether it successfully uses narrative elements such as pictures, lenses, sounds and colors. In a word, the good and bad of the film is determined by the success of its narrative. Shi Longduo, a famous German film director, once said: "short pieces based on the media of the Internet. The film is a film technological revolution. It requires its content, creation to a series of completion, which must be highly simplified, including the style of the whole narrative. "How to find a platform suitable for the new media from the mother's communication film, suitable for the digital development of the narrative and audio-visual elements. The effect of the communication is particularly important. The research on the narrative art of the micro film and the analysis of the communication features has very important theoretical research value and practical guiding significance for the development of the whole new media culture industry.
However, the micro film is different from the traditional film. It is short and vigorous with distinctive features of the network. Its participatory features surpass the appreciation of the traditional film. At the same time, it dispels the authority of the traditional film and has its unique characteristics of communication and narrative. In the reality, the creation of micro films is low and some creators have the narrative art of micro films. The lack of understanding has led to the uneven production of micro films, and the problem of large production, few quality products and poor dissemination results in the network.
This paper continues to explore the narrative of micro film by using the theories and methods of communication, film and television art, film narratology, semiotics and film and Television Aesthetics. The first chapter is the introduction, which is the significance of this article: enriching the theoretical construction and guiding practice of the micro film narrative art, literature review and research. Method.
The second chapter is an overview of micro film. First, the concept of micro film is briefly defined. Secondly, the development history of micro films in China is reviewed with time as the axis, important micro film works and events as nodes, and then the development status of micro films is briefly analyzed: the polarization is serious, original and professional production is parallel, The second part is from the maturity of the network digital media technology, the post modern fragmented cultural communication environment and the coming of the visual culture era. The "three micro" attribute is in line with the needs of the times and the demand of commercial advertising in four aspects to analyze the reasons for the rise of the micro film.
The third chapter carries out the analysis of the micro film narrative from the perspective of communication. The first part is based on the analysis of the micro film narrative under the theory of "media is information". The second part analyses the five characteristics of the micro film, which are the interaction of the communication process, the specialization and popularization of the theme, the rich communication content and the multiple communication mode. The third part analyses the communication audience of the micro film from four aspects. The fourth part is the analysis of the transmission effect of the micro film.
The fourth chapter is the narrative research of micro film. First, it briefly expounds the narrative theory of narratology and the film narrative theory of the four genres today. Then, the theory of the previous two sections analyzes the four narrative features of the microfilm for the support of an example, which are the civilian narrative theme, the rise of the grass root culture under the new media environment, the life of the narrative type, and the network. The narrative style, the micro film culture and fragmentation, the nonlinear, and the interactive narrative structure in the carnival context, and the use of the popular micro film from the symbolic expression of the image, the play of sound function and the use of color and animation to analyze the use of the free and bold narrative element of the micro film. Pluralistic narrative value orientation and youth narrative theme.
The first part of the fifth chapter enumerates the problems of the development of Chinese micro film narrative art: first, the following imitation is obvious, the quality and the good and the bad are different; two, pay too much attention to the visual Carnival and neglect the deep thinking; three, some micro films only pay attention to consumption, vulgarization and lack of humanistic care; four, the paradox of the development of the audience and the market. The second part is to solve the suggestions: first, to promote the deep excavation of the artistic value of the micro film; two, promote and support the original micro film, and constantly innovate the expression techniques; three, on the premise of advocating pluralistic expression, pay attention to humanistic care.
Finally, the conclusion of this paper is that the aesthetic value of micro film as a new audio-visual art is far from being fully explored.
The innovation of this paper is from the perspective of communication, from the two aspects of narrative art and film and television language, in-depth interpretation of micro films, point out the existing problems of micro film narrative, and put forward some suggestions to solve the long-term healthy development of micro films to provide reference and learning.

【學(xué)位授予單位】：成都理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905;G206

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本文編號：1883110