从受众接受角度论华语电影预告片的营销策略

发布时间：2018-03-29 00:28

本文选题：华语电影预告片　切入点：受众　出处：《西北大学》2014年硕士论文

【摘要】：电影预告片诞生于1912年,已经有了百年历史,百年沉浮中,预告片同样经历了制作水平与制作理念的巨大转变。随着电影发展的日益繁荣,预告片的职能也在悄然发生着变化。伴随着华语电影的日益繁荣,对于预告片的关注也从单纯片段性集合的宣传到艺术与商业双重属性的营销利器,把受众的视野和审美要求提高到了一个新的高度。由于直接面对观众,预告片已经成为电影上映前能否吸引眼球的重要指标,因此恰当的把握受众的审美方向和接受心理才能准确的定位市场,最大赢面的争取到目标受众。本文立足华语电影产业环境,研究预告片从受众的审美接受角度出发,制定出相应的营销策略使其为电影加分,让预告片在拉动票房的同时也能起到提高电影品质的作用。文章的前半部分论述华语电影预告片的基本内容和现状,运用接受美学的原理分析预告片的主要消费群体——普通电影受众的审美心理和接受方式,探讨什么样的预告片能满足电影消费的需求,达到良好的互动效果。在新媒体时代的语境下,多媒体平台、手指经济的普及化,华语电影预告片多角度多向度的从受众个体出发,把公共领域的影像手法私人化处理,从被动式的信息接受真正进入到具有受众主位意识的观影时代,使作为影片上映前观众了解电影的敲门砖能够突破传统,在受众视野里充满了对电影正片的期待。总之,本文将大量列举预告片实例进行分析和说明,开发华语电影预告片的更多可能性。无论是从电影艺术价值上还是电影营销策略上来看,有正确的审美导向、制作质量上乘、形式内容创新并迎合中国观众审美接受的预告片,针对不同的受众群体,利用网络和新媒体平台的及时性、互动性制定适当的传播策略,从而影响受众的购买行为,是华语电影未来的发展趋势,也将会是华语电影走向国际的有力支撑。
[Abstract]:The film trailers were born in 1912 and have a history of one hundred years. During the hundred years of ups and downs, the trailers have also undergone tremendous changes in the production level and production philosophy. With the development of the film, the development of the film has become more and more prosperous. The functions of trailers are quietly changing. With the increasing prosperity of Chinese films, the focus on trailers ranges from the promotion of simple piecewise collections to the marketing weapon of the dual attributes of art and commerce. The audience's vision and aesthetic requirements have been raised to a new level. As a result of facing the audience directly, the trailer has become an important indicator of whether the film can attract attention before it is released. Therefore, we should grasp the aesthetic direction of the audience and accept psychology to accurately position the market and win over the target audience. Based on the Chinese film industry environment, this paper studies the trailers from the perspective of the audience's aesthetic acceptance, and formulates the corresponding marketing strategies so that they can add value to the film. The first half of the article discusses the basic content and current situation of Chinese film trailers. Based on the principle of reception aesthetics, this paper analyzes the aesthetic psychology and reception mode of the main consumer group of trailers, ordinary film audiences, and discusses what kind of trailers can meet the needs of film consumption. In the context of the new media era, the multimedia platform, the popularization of the finger economy, the multi-angle and multi-directional Chinese film trailers, starting from the individual audience, dealing with the image techniques of the public domain privately. From passive acceptance of information to the era of viewing film with the consciousness of audience theme, the audience can break through the tradition of understanding the film before its release and be full of the expectation of the film positive film in the audience's field of vision. In short, this paper will cite a large number of examples of trailers to analyze and explain the possibility of developing Chinese film trailers. Whether in terms of the artistic value of films or film marketing strategies, there is a correct aesthetic orientation. Making trailers of superior quality, innovative form and catering to the aesthetic acceptance of Chinese audience, aiming at different audience groups, making use of the timeliness of network and new media platform, making appropriate communication strategy interactively, Therefore, influencing the purchasing behavior of the audience is the future development trend of the Chinese language film, and will also be the strong support of the Chinese language film to the international.
【学位授予单位】：西北大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J943

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