我国艺术电影的传播路径及困境突破研究

发布时间：2018-01-05 18:34

本文关键词：我国艺术电影的传播路径及困境突破研究　出处：《北京交通大学》2017年硕士论文　论文类型：学位论文

【摘要】：随着我国电影市场的高速发展,影片制作、放映、宣传传播的路径日趋完善,国产电影行业逐步走向专业化的运作模式。国产艺术电影《刺客聂隐娘》、《白日焰火》等完成拍摄、进入影院、并取得一定社会关注度和讨论热度,一方面说明观影群体存在分层,多样性的影片具有消费市场;另一方面也说明仍旧有不少电影人热衷于拍摄提升观影者人文素养,以及建构和传递多元化价值观的艺术电影。文化多样性并未被繁荣市场所掩盖,相反,其给予艺术电影支撑。本文以新写实主义为理论依据,借由艺术电影与新写实主义关于人性关怀和社会现实观照相一致的内核,以其艺术性和现实性作为现实抓手,对国产艺术电影《刺客聂隐娘》(以下简称《聂隐娘》)和《白日焰火》的传播路径进行研究。以PEST分析模型为基础,从艺术电影所处的政治、经济、社会、技术等宏观环境入手,考察得出其分众传播、提升观影者精神品格和审美素养,以及构建多元化价值观的传播目标及需求。在文章第三部分利用文本分析、深层访谈等研究方法对《聂隐娘》及《白日焰火》的制作、放映、宣传传播路径进行分别阐述和比较分析。两部影片对宣传传播路径均进行尝试和探索,并取得一定效果。但通过对影片画面、声音、传递价值观等制作元素分析、考察得出《聂隐娘》整体风格和叙事是侯孝贤背离受众,自我精神幻象世界的探索,而《白日焰火》则是融合现实商业元素,关注底层个体的世俗生存世界,面向受众并建立起相互联系和精神沟通的影片。而制作上的差异致使观众对于两部影片的接受程度呈现不同,其在放映端也就面临着分众各赏和跨群分合的不同景象,从而导致影片市场能见度呈现差异。通过研究发现,目前艺术电影在传播路径上存在一定困境,集中体现在:市场定位模糊,极端制作泛化;公益性放映空间匮乏,艺术院线缺乏保障;版权意识模糊,价值链断裂。基于艺术电影的现状及国产电影市场的特点和发展趋势,对于其传播过程中出现的困境,应从制作源头入手,在创作者对影片内容坚守和突破的基础上,培育潜在受众;中国电影人应把握收益比例,避免唯票房论;利用准公益性放映空间"垂直投递",建立虚拟艺术院线。更为重要的是,艺术电影的发展离不开政府政策的扶植,超越商业语境进行文化建构,通过文化自觉给予艺术电影更大的生存空间。
[Abstract]:With the rapid development of China's film market, film making, screening, propagation path is becoming more perfect, the mode of operation of the domestic film industry is gradually moving towards specialization. The domestic art films > < < assassin Nie concealed woman, fireworks etc. > finished shooting and entering the theater, and made a certain degree of social concern and discussion of a heat. That viewing groups are layered, the diversity of the film with the consumer market; on the other hand also shows that there are still a lot of people are keen to promote film shoot moviegoers humanistic quality, and the construction and delivery of diversified values of art film. Cultural diversity is not covered by the prosperity of the market, instead, giving the art film support based on the new realism. As the theory basis, through the art of film and new realism about humanity and social reality perspective consistent with its kernel, art and reality as reality The starting point of the domestic art film "Assassin Nie concealed woman (hereinafter referred to as < > > of Nie concealed woman) < > the propagation path and the fireworks. With the analysis of PEST model as the foundation, from the art film politics, economy, society, technology and other macro environment of the dissemination, promotion concept the shadow of spiritual character and aesthetic qualities, as well as the construction of communication objectives and needs diversified values. In the third part of the article by analyzing the text, in-depth interviews and other research methods of Nie < > and < > concealed woman fireworks production, screening, publicity and propagation path are discussed and compared. The two film is the promotion of the propagation path both attempt and exploration, and achieved certain results. But the voice of the film, and analysis of transfer values and other production elements of < > Nie concealed woman overall style and narrative is Hsiao-Hsien Hou from the audience, the spiritual world of illusion Field exploration, and "fireworks > is the fusion of the real commercial elements, focusing on the bottom of the individual life world, facing the audience and the film establish contact each other and spiritual communication. And the difference of production in the audience for the acceptance of the two films show different, the show will be faced with the end the tour and cross group division in different scene, resulting in the film market visibility differences. Through the study found that, at present there are some difficulties in the art film on the propagation path, embodied in: market positioning fuzzy, making extreme generalization; public screening space shortage, lack of protection of the art cinema; copyright consciousness, value chain fracture the characteristics and development trend. The present status of the art film and made the film based on the market, for the propagation process of difficulties, should make the source of the creator of the video content to Based on the development and breakthrough, the potential audience; Chinese filmmakers should grasp the proportion of income, not only at the box office; using quasi public screening space "vertical delivery", the establishment of virtual art cinema. More importantly, the development of the art film cannot do without the government policy support for cultural construction beyond the business context. The cultural consciousness of art film give greater living space.

【学位授予单位】：北京交通大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：G206;J943

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