中国网络文学IP电影的跨媒介叙事研究

发布时间：2018-05-04 07:50

本文选题：IP电影 + 网络文学IP电影　；参考：《西南大学》2017年硕士论文

【摘要】：在国外,IP的开发运营已十分成熟,美国和日本的IP开发主要依靠漫画的再衍生电影、游戏及周边产品来扩展其内容的市场影响力,扩大受众覆盖面,进而强化IP品牌。在国内,IP的核心来源主要是网络文学,各大影视公司大量囤积网络文学IP,但却没有形成一定的品牌,文本改编同质化现象严重,内容创生不足使得网络文学IP受到多方诟病,版权开发分散且复杂,改编文本间的互相干扰也使优质IP失去先天优势。本文以网络文学IP电影为主要研究对象,通过梳理网络文学作品的发展以及类型化特征,分析媒介融合与IP产业链开发的内在需求。基于亨利·詹金斯对跨媒介叙事理论进行的框架性梳理,并结合戴维·赫尔曼提出的“故事世界”概念,以《鬼吹灯》为例从叙事主题、结构、空间、人物等方面分析网络文学IP电影的影像构建方式,以期了解不同媒介完成共同叙事的产业模式,总结国内跨媒介叙事的内在逻辑。对比分析了国外跨媒介叙事的方式,发现国内IP的转换只能依靠一时的跨媒介传播形成短暂的品牌,注重媒介差异性大于文本的关联性,IP版权乱象使故事不能构成统一的整体,受众在多个文本中不能实现来回游走的问题。本文结合跨媒介叙事框架,对网络文学IP电影的跨媒介叙事进行了思考,并从故事世界的建构、情节的互文设置、受众分层管理及IP版权的完善等方面为以后的IP开发提供一些参考。
[Abstract]:The development and operation of IP in foreign countries has been very mature. IP development in the United States and Japan mainly depends on the rederivative movies, games and peripheral products of comics to expand the market influence of its content, expand the coverage of the audience, and then strengthen the IP brand. In China, the core source of IP is mainly network literature. Major film and television companies hoard IPs of network literature in large quantities, but they do not form a certain brand. The phenomenon of homogenization of text adaptation is serious, and the lack of content creation makes the IP of network literature subject to many criticisms. Copyright development is scattered and complex, and the interference between adapted texts makes quality IP lose its inherent advantage. This paper takes IP film of network literature as the main research object, through combing the development and the type characteristic of the network literature works, analyzes the inherent demand of the media fusion and the development of IP industry chain. Based on Henry Jenkins' frame analysis of cross-media narrative theory and the concept of "story world" put forward by David Herman, this paper takes Ghost Blow-Lamp as an example from the narrative theme, structure and space. In order to understand the industrial mode of different media to complete common narration and summarize the internal logic of cross-media narration in China, this paper analyzes the image construction mode of Internet literature IP film. By comparing and analyzing the way of cross-media narration in foreign countries, it is found that the conversion of domestic IP can only depend on the transmedia-media communication to form a temporary brand, and pay more attention to the relevance of media difference than text. IP copyright confusion makes the story unable to form a unified whole. The audience in multiple texts can not achieve the problem of walking back and forth. Based on the frame of cross-media narration, this paper thinks about the cross-media narrative of Internet literature IP film, and constructs the story world and the intertextuality of the plot. Audience stratification management and IP copyright improvement and other aspects for the future IP development to provide some reference.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I206.7;J943

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