《舌尖上的中国》-纪录片国际语境下的中国表达

发布时间：2018-01-08 14:34

本文关键词：《舌尖上的中国》-纪录片国际语境下的中国表达　出处：《陕西科技大学》2014年硕士论文　论文类型：学位论文

【摘要】：电视，是声画结合的最普通的大众传播手段；它是一个最简单而又广泛的社会交流系统，兼容新闻、艺术、娱乐、社会服务和公共教育等众多形式，是人类进入视觉媒体时代，政治经济、科学技术、社会文化、伦理道德以及各种价值观的交融性体现。[1]自1895年，卢米埃尔兄弟第一次开始进行的电影实践活动，便奠定了其电影、电视最基础的纪实功能，使得纪录片是当今社会一切电影、电视节目的鼻祖。弗拉哈迪拍摄《北方的纳努克》，标志着人类学电视纪录片的诞生。 20世纪90年代起，在跨文化传播的国际背景下，影视文化从最早的政治、启蒙文化进而向大众泛娱乐文化转型。以往影视文化的认知功能、教育功能逐渐被消解，，感官刺激功能、游戏、娱乐等功能均得到强化。在这种大环境下，纪录片的叙事风格也有了一定变化，开始从七、八十年代的新闻片、专题片逐步向纪录片叙事转型。纪录片表达也逐渐开始追求平民化、故事化、碎片化、悬念的营造等叙事手段，与国际接轨。近年来，我国纪录片快速发展，中国纪录片已然突破了以往的创作模式，已经探索出一条属于自己的发展道路，其创作特色与美学风格已经逐步形成。2012年，被称作中国纪录片品牌元年，中央电视台纪录片频道开播。纪录片《舌尖上的中国》以集群方式实现在全球60多个国家和地区销售播出，并在国内外引起了强烈反响，对中国纪录片的长远发展具有重要意义。本文试图从美学角度出发，分析《舌尖上的中国》在当代网络时代和全球化传播语境下的美学意义，以及在创作层面所具有的中国特色美学风格，及其意义和价值，并在一系列文献理论的基础之上，为中国纪录片在构建国家形象、传播中国文化方面提供一定的理论支持。第一章简要的概述的研究纪录片国际语境下的中国表达的研究缘起及创新所在。分别从《舌尖上的中国》、中国纪录片创作两个方面分析了当前我国纪录片创作在中国表达层面的理论研究发展，提出了一些不足。第二章宏观简述了中国纪录片的发展历史，概括性的描述了各个阶段纪录片生产的历史环境和创作特点，从而梳理中国纪录片出现和迅速发展的整体脉络。第三章主要分析了当代跨文化传播下，我国纪录片所处的大环境。首先介绍了当前国内纪录片频道的开播，中国纪录片所将要面临的市场化的生存困境以及收视率至上、娱乐至死的大众文化语境。本章还介绍了中国纪录片所肩负的传递中国、构建中国国家形象的历史使命。第四章则具体分析纪录片《舌尖上的中国》，从创作特点和美学风格多角度分析，认为在纪录片国际语境下，纪录片创作要具有中国特色，用中国式的方式去表达拍摄，再现当代真正的中国。第五章到第八章则从中国纪录片创作表达文本、镜头方面的对比，突出表达国产纪录片中国表达层面关注人文关怀、关注民族影像实践，以及展望未来中国纪录片本土化及全球化的把握，认为建立国产纪录片本土化品牌产业构建是大势所趋，同时还要在中国表达的基础上兼顾全球化跨文化传播。应该说，纪录片不仅仅单纯纪录了中华民族和各个地区人们的生产生活，同样也折射出了当代中国大社会的整体形象与进步。中国纪录片，用中国的方式表达中国，再现当代社会主义中国的同时，也为中华各族人民以及全世界，描绘了一幅幅值得憧憬的画卷。
[Abstract]:Television is the most common means of mass communication , which is the most simple and extensive social communication system , which is compatible with news , art , entertainment , social service and public education . It is the blend of human beings into the era of visual media , political economy , science and technology , social culture , ethics and various values . From the early 1990s , under the international background of cross - cultural communication , the film and television culture is transformed from the earliest politics and the enlightenment culture to the general entertainment culture . In the large environment , the narrative style of the documentary has been strengthened . In this large environment , the narrative style of the documentary has changed gradually , and the narrative style of the documentary is gradually transformed from the seven to the 1980s . In recent years , China ' s documentary has been developing rapidly . The Chinese documentary has already broken through the previous creation mode , and has explored a path of development that belongs to its own development . In 2012 , it is known as the Chinese documentary brand , and its creative characteristics and aesthetic style have been gradually formed . In 2012 , China ' s documentary film on the tip of the documentary was broadcast in more than 60 countries and regions of the world . Chapter One provides a brief overview of the origin and innovation of China ' s expression in the international context of documentary film . In the second chapter , the development history of documentary in China is briefly described , and the historical environment and creative characteristics of documentary production in each stage are described . The third chapter mainly analyzes the large environment of China ' s documentary in the contemporary cross - cultural communication . First , it introduces the opening of the current domestic documentary channel , the market - oriented survival predicament to be faced by the Chinese documentary , and the popular cultural context of the top - up , entertainment and death . The chapter also introduces the historical mission of China ' s documentary to transfer China and build the image of China . The fourth chapter analyzes the Chinese characters on the lingual cusp of the documentary , from the perspectives of creative characteristics and aesthetic style , and believes that in the international context of the documentary , the creation of the documentary will have Chinese characteristics , express the film in Chinese style , and then present the real China . The fifth and eighth chapters , from the Chinese documentary film creation express text , the lens aspect contrast , highlight the domestic documentary Chinese expression level pay attention to the humanities concern , pay attention to the national image practice , and look forward the future Chinese documentary localization and the globalization , believe that the establishment of the domestic documentary film localization brand industry construction is the trend of the trend , and at the same time , on the basis of China ' s expression , the globalization cross - cultural communication should be taken into account . It should be said that the documentary does not merely record the production and life of people in the Chinese nation and the region , but also reflects the overall image and progress of the Chinese large society .

【学位授予单位】：陕西科技大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J952

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