接受美学视域下新世纪中国电影预告片研究

发布时间：2018-05-21 00:32

本文选题：中国电影预告片 + 接受美学　；参考：《西安建筑科技大学》2017年硕士论文

【摘要】：自1912年好莱坞第一支电影预告片诞生以来,电影预告片在这百年之间经历了从制作水平到制作理念的不断更新与发展。随着中国电影市场的不断繁荣,电影预告片也开始受到了中国电影制作者们更为广泛的关注。自2009年中国第一支电影预告片取得成功,中国电影制作者们逐渐认识到了电影预告片对票房的影响,预告片成为了电影营销过程中的重要手段。受众作为电影预告片的直接接受对象,在预告片创作与传播的过程中都具有举足轻重的地位。那么,发展中的中国电影预告片如何做到艺术性与商业性的统一,如何正确把握受众的审美与接受,从而与世界水平接轨,实现有效信息的最大化传播是当下中国电影市场值得思索的问题。研究中国电影预告片,需立足新世纪中国电影市场,以接受美学为基本理论依据,从受众的审美角度出发,梳理电影预告片的发展脉络,分析预告片的艺术表现以及电影预告片与受众间的相互作用,辅之以数部新世纪中国电影预告片为具体案例,从根本剖析中国电影预告片的现状,对电影预告片的发展予以展望。电影预告片作为电影艺术的副文本,它的本质是广告,却又不同于广告。好莱坞电影预告片已经形成完成的产业链,且分工细致,中国电影预告片应在学习中寻求自我定位与发展。首先,厘清电影预告片的艺术表现形式,达到形式上与内容上的整合。其次,寻求电影本体的独特代表元素,用创新的思维与眼光看待电影预告片的制作。最后,进行市场调研,与电影的营销策略相吻合,根据受众的不同诉求“对症下药”。笔者以大量的预告片为案例进行分析,以大量统计数据为依据,试图为新生的中国电影预告片寻找一条可行的前进的道路。使得中国电影预告片作为电影预告片副文本的同时,又独立于电影本体,在艺术性和商业性上达到融合贯通,更好的为电影本体和受众服务,从而推动中国电影市场的发展与国际化进程。
[Abstract]:Since the birth of the first film trailer in Hollywood in 1912, the film trailer has experienced the continuous renewal and development from the production level to the production idea. As the Chinese film market continues to flourish, film trailers are beginning to attract more attention from Chinese filmmakers. Since the success of the first film trailer in China in 2009, Chinese film makers have come to realize the influence of the film trailer on the box office, and the trailer has become an important means in the process of film marketing. Audience, as the object of film trailers, plays an important role in the process of trailers creation and dissemination. Well, how to unify the artistic and commercial aspects of the developing Chinese film trailers, how to correctly grasp the audience's aesthetic appreciation and acceptance, so as to connect with the world level, To realize the maximum dissemination of effective information is a problem worth thinking about in the current Chinese film market. In order to study the Chinese film trailers, we should base ourselves on the Chinese film market in the new century, take the reception aesthetics as the basic theoretical basis, and sort out the development context of the film trailers from the aesthetic point of view of the audience. This paper analyzes the artistic performance of the trailers and the interaction between the trailers and the audience. It is supplemented by several Chinese film trailers in the new century as specific cases, and analyzes the present situation of the Chinese film trailers fundamentally. Prospects for the development of film trailers. As the secondary text of film art, the essence of film trailer is advertising, but it is different from advertisement. Hollywood film trailers have formed a complete industrial chain, and the division of labor is meticulous. Chinese film trailers should seek self-orientation and development in their study. First of all, clarify the artistic form of film trailers to achieve the integration of form and content. Secondly, seek the unique representative elements of film ontology, and look at the production of film trailer with innovative thinking and vision. Finally, market research, consistent with the film's marketing strategy, according to the different demands of the audience, "the right remedy." Based on a large number of trailers and a large number of statistical data, the author tries to find a feasible way forward for the nascent Chinese film trailers. It makes Chinese film trailers as the secondary text of film trailers, but also independent of the film ontology, in the artistic and commercial integration through, better serve for film ontology and audience, In order to promote the development of the Chinese film market and the process of internationalization.
【学位授予单位】：西安建筑科技大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J943

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