互联网上的新影像与新观众研究

发布时间：2018-05-31 17:53

本文选题：影像传播 + 受众分析　；参考：《西南大学》2013年硕士论文

【摘要】：当前状况下,伴随着互联网在全球范围内的全面普及,影像传播逐渐地发展成为了传播的主要载体,并且大有全面替代其它形式传播媒体的发展趋势,受到这种情况的影响,以网络作为发展载体,同时也是以影像作为媒介的网络影像艺术逐渐地浮现了出来,成为了一门独立地学科。同时影像同网络之间逐渐地构成了一个相对崭新的世界,这一世界的存在已经从根本上改变了传统意义上的人们对于世界的认知。面对着当前“影像”时代的到来,我们在享受其所带来的福利的同时还应当要能够对于其所产生的影响进行估计,从另外一个角度上讲指的就是,面对着这种流速越来越快的整个传播学科的发展和完善,我们可以逐渐地了解到大众对于影像的“需求”从根本上讲是一种“事件性”的需求,同时也是作为一种在发展轨迹当中保持不间断发生,甚至在某些时候足以扭转走向,产生实质性变化的一种“新”的需求。受到这种情况的影响,我们当前所正在面对着是是一种本体式的生成化理论,而在这种理论形成的同时也使得其它相关方面发生了相应的转化。这种转化所形成的“新”意不再指的是传统意义上的过去唯心论所诉诸的一种天赋,同时也不仅仅指的是唯物论当中所重点强调的结构以及形式的概念,从另外一个角度上讲,所谓的“新”,不再指的是传统意义上的形容词格,而是实现动态发展过程当中的“独特点”,同时也是作为行动当中的“有效点”而存在的,综上所述所谓的“新”即指的是一种介入的状况。由此我们也可以知道,当我们开始逐渐地将目光转移到新影像方面的相关问题时,在更多时候则可以将该问题逐渐地转化成为以下几种情况：首先明确所谓的新影像指是就是一种足以能够成事件的影像概念。其次,在这样的一种生产过度到消费的事实发展过程当中,我们也可以直接地了解到：当前状况下影像是完全可以实现不作为任何存在的再现形式而存在,而应当是作为整个事件而存在的,受到此种情况的影响,该事件性的生成在更大程度上足以作为“撼动”既定事实的一种次序再现。本文共分为五部分,第一部份是论述是关于影像艺术传播的发展及其现状以及受众对于传统影像的认知,接受以及消费。第二部分则是详细论述网络中新影像的表现研究以及存在的现实意义,从新影像的现状、内容、分类等方面入手,进行归纳。第三部分主要讨论新影像的传播方式以及商业模式。第四部分主要论述新影像作品的创作者和观众。即新影像的观众和新影像的作者相互转化,新影像的出现,使得大众传播的影像掌握在少数机构手中的状态得以改变,影像的话语权因此得到改变。本文立足于网络时代影像传播的转型,探讨影像艺术传播在网络时代出现的新特点和传播形式的变化趋势,为今后新媒体影像艺术的创作和传播提供理论依据,并对可能出现的困境寻找出路。
[Abstract]:Under the current situation, with the universal popularization of the Internet in the world, image communication has gradually developed into the main carrier of communication, and it has a comprehensive substitute for the development trend of other forms of communication media, which is influenced by this situation, taking the network as the carrier of development, and is also a network image art with the image as the medium. The operation gradually emerged to become an independent subject, and the image and the network gradually formed a relatively new world. The existence of the world has fundamentally changed the traditional sense of the people's perception of the world.
In the face of the arrival of the current "image" era, we should also be able to estimate the impact of the benefits that it brings, and in the other way, we can gradually understand the popularity of the public in the face of the development and improvement of the whole communication discipline that is growing faster and faster. The "demand" in the image is essentially a "event" demand, but it is also a "new" demand that remains uninterrupted in the path of development, and even at some time is enough to reverse the trend and produce substantial changes. The noumenon theory of generative theory, while the formation of this theory, has also made the corresponding transformation of other related aspects. The "new" meaning formed by this transformation is no longer refers to a natural gift of the traditional sense of the past idealism, and not only the structure and shape emphasized in materialism. From another point of view, the concept of "new" is no longer referred to as the adjective in the traditional sense, but the "one characteristic" in the process of dynamic development, but also as an "effective point" in action. In summary, the so-called "new" refers to a state of intervention. It can also be known that when we begin to gradually shift our eyes to problems related to new images, it is more time to gradually transform the problem into the following cases: first, it is clear that the so-called new image refers to an image that is enough to be an event. In the course of the factual development of the fee, we can also directly understand that under the current situation, the image is completely possible to exist as a form of reproduction, but that it should exist as a whole event, which is influenced by this situation to a greater extent as a "shake" set. A real order of reproduction.
This article is divided into five parts. The first part is about the development and current situation of the image art communication and the audience's cognition, acceptance and consumption for the traditional image. The second part is the detailed exposition of the performance of the new image in the network and its practical significance, from the status, content and classification of the new image. The third part mainly discusses the mode of communication and the business model of the new image. The fourth part mainly discusses the creator and audience of the new image. That is, the new image of the audience and the new image of the author transform each other, the appearance of the new image, so that the image of the mass media can be changed in the hands of a few organizations. This article, based on the transformation of the image transmission in the network age, discusses the new characteristics and the changing trends of the image art communication in the network age, and provides a theoretical basis for the creation and dissemination of the new media image art, and seeks a way out for the possible predicament.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：G206;J943

【参考文献】