本文選題：草原題材 + 微電影　； 參考：《內(nèi)蒙古大學(xué)》2015年碩士論文

【摘要】：作為一種自由表達(dá)和自?shī)首詷?lè)的電影形態(tài),微電影的出現(xiàn)無(wú)疑是時(shí)代的產(chǎn)物。微電影自誕生之日起,便引來(lái)廣泛關(guān)注。近年來(lái),微電影的發(fā)展使中國(guó)進(jìn)入了電影的“全民時(shí)代”。隨著作品數(shù)量日趨猛增,以獵奇、吸睛、戲說(shuō)、惡搞來(lái)搏求點(diǎn)擊率成為多數(shù)微電影創(chuàng)作的動(dòng)力,使得作品對(duì)藝術(shù)性的追求日漸模糊。作為少數(shù)民族地區(qū),內(nèi)蒙古在時(shí)代的潮流中,在民族文化豐富底蘊(yùn)的孕育中涌現(xiàn)出了大批的以草原生活為題材的微電影作品。本文結(jié)合微電影的發(fā)展現(xiàn)狀,對(duì)內(nèi)蒙古草原題材微電影的藝術(shù)性進(jìn)行研究。全文分為六個(gè)部分,引言、四個(gè)章以及結(jié)語(yǔ)。第一章界定內(nèi)蒙古草原題材微電影,概述其產(chǎn)生和發(fā)展的簡(jiǎn)要情況。第二章通過(guò)對(duì)具體例證的歸納、分析,梳理內(nèi)蒙古草原題材微電影在題材選擇、主題確立、藝術(shù)結(jié)構(gòu)、視聽(tīng)效果、傳播過(guò)程五個(gè)方面形成的藝術(shù)特征。第三章從美學(xué)功能和社會(huì)功能闡述內(nèi)蒙古草原題材微電影的現(xiàn)實(shí)意義。第四章通過(guò)對(duì)比國(guó)內(nèi)外優(yōu)秀微電影,思考內(nèi)蒙古草原題材微電影的不足,以期內(nèi)蒙古微電影長(zhǎng)足發(fā)展。透過(guò)微電影這扇傳統(tǒng)民族文化和現(xiàn)代科技融合的視窗,我們領(lǐng)略內(nèi)蒙古地區(qū)的自然人文景觀、民族風(fēng)情和民族性格；解讀草原文化的深刻內(nèi)涵；更重要的是,通過(guò)了解草原人民的生存現(xiàn)狀和現(xiàn)實(shí)問(wèn)題,深切領(lǐng)悟作品所傳遞的思想和情感,意在對(duì)微電影的藝術(shù)性形成一定的關(guān)注度,這也是本文研究的目的和初衷之一。
[Abstract]:As a form of free expression and entertainment, the emergence of micro-film is undoubtedly the product of the times. Micro-film has attracted wide attention since its birth. In recent years, the development of micro-film has made China enter the "national era". With the increasing increase in the number of works, the pursuit of artistry has become the driving force of most micro-film creation, and the pursuit of artistry has become increasingly blurred. As a minority region, in the trend of the times, a large number of micro-film works with the theme of grassland life emerged in the gestation of rich national culture. This paper studies the artistry of Inner Mongolia grassland-themed micro-film based on the development of micro-film. The full text is divided into six parts, introduction, four chapters and conclusion. The first chapter defines the Inner Mongolia grassland subject matter micro-film, summarizes its generation and the development brief situation. The second chapter through the concrete example induction, the analysis, combs the Inner Mongolia prairie subject matter micro film in the theme choice, the theme establishment, the artistic structure, the audio-visual effect, the dissemination process five aspects forms the artistic characteristic. The third chapter expounds the realistic significance of Inner Mongolia grassland theme micro-film from aesthetic function and social function. In the fourth chapter, by comparing domestic and foreign excellent micro films, I think about the shortage of Inner Mongolia grassland subject matter micro film, in order to make great progress of Inner Mongolia micro film. Through microfilm, a window of traditional national culture and modern science and technology, we have a taste of the natural and humanistic landscape, ethnic customs and national character of Inner Mongolia; understand the profound connotation of prairie culture; and, more importantly, Through understanding the existing situation and realistic problems of the grassland people, deeply understand the ideas and emotions transmitted by the works, which is intended to form a certain degree of attention to the artistry of micro-films, which is also one of the purposes and original intention of this study.
【學(xué)位授予單位】：內(nèi)蒙古大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J905

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本文編號(hào)：2074214