2000年以来的中国大陆青春片研究

发布时间：2018-03-03 20:29

本文选题：青春片　切入点：亚类型　出处：《西安外国语大学》2017年硕士论文　论文类型：学位论文

【摘要】：青春片在表达个体青春体验、感染大众情绪、缅怀美好过去的同时,传播着青年人的审美情趣、思维方式与价值观念。新世纪以来,中国大陆青春片在叙事内容、创作方式上的转变,使青春片成为推动电影市场的一大动力。探究新世纪以来的青春片创作转型、观影受众群体特点以及意识形态解读,能够推动青春片的丰富性和多元化创作。随着国内网络的普及、开放与利用以及电影技术的进步,电影创作者越来越重视受众的细分领域需求。本文立足电影制作、影视受众及大众文化的相互作用,从四个部分对新世纪以来的大陆青春片进行研究。第一部分:对研究对象概念的界定以及介绍大陆青春片的创作方式与叙事内容。梳理中国大陆青春片的发展流变及新世纪以来由于市场需求的变化导致大陆青春片的叙事内容、创作方式的转变。第二部分:主要对大陆青春片的亚类型进行分类,并解读青春片亚类型的意识形态内涵。探讨青春片与其他类型电影之间的融合在内容和形式上的创新,以及青春片亚类型所传播的意识形态产生的意义和价值。第三部分:以数据量化分析和田野调查相结合的方法,结合青春片导演创作对受众发展的互动模式分析,探讨新世纪以来的中国大陆青春片受众特点及形成原因。第四部分:主要阐述中国大陆青春片的现状以及对大陆青春片未来的展望。对大陆青春片匮乏的想象力、不完善的电影市场评价体系以及热门IP的随意改编现状的反思,提出解决方案及改善办法,促进大陆青春片的健康持续发展,优化影片的思想情感、受众审美及文化内涵。
[Abstract]:While expressing the individual experience of youth, infecting the public mood and remembering the beautiful past, youth films spread the aesthetic taste, mode of thinking and values of the young people. Since the new century, the Chinese mainland youth films have been narrative content. The change of creative way makes the youth film become a big motive force to promote the film market. It probes into the transformation of the youth film creation since the new century, the characteristics of audience and the interpretation of ideology. With the popularity of the domestic network, openness and utilization, as well as the progress of film technology, film creators pay more and more attention to the needs of audience segments. The interaction between audience and mass culture, The first part: the definition of the concept of the object of study and the introduction of the creative style and narrative content of the mainland youth film, and combing the development of the youth film in mainland China, the first part is the definition of the concept of the research object and the introduction of the creative style and narrative content of the mainland youth film. The changes and the changes in the market demand in the new century have led to the narrative content of the mainland youth films. The second part mainly classifies the subtypes of youth films on the mainland, and interprets the ideological connotation of the subtypes of youth films, and probes into the innovation in content and form of the fusion between youth films and other types of films. And the significance and value of ideology produced by the subtype of youth film. The third part: with the method of data quantitative analysis and field investigation, combining with the interactive mode of youth film director's creation to the audience development, the third part is the analysis of the interaction mode of the youth film director's creation to the audience development. This paper discusses the characteristics and forming reasons of the youth films in mainland China since the new century. Part 4th: it mainly expounds the present situation of the youth films in the mainland of China and the prospects for the future of the youth films in the mainland, as well as the imagination of the lack of the youth films in the mainland. The imperfect evaluation system of film market and the rethinking of the current situation of the random adaptation of popular IP are put forward to promote the healthy and sustainable development of the mainland youth film and to optimize the ideological and emotional, aesthetic and cultural connotation of the film.
【学位授予单位】：西安外国语大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905

【相似文献】