中国少数民族儿童电影的呈现与表达

发布时间：2018-06-07 19:26

本文选题：少数民族 + 儿童电影　；参考：《内蒙古师范大学》2017年硕士论文

【摘要】：电影是一门视听综合的艺术,儿童电影的主要受众群体是儿童和青少年。半个多世纪以来,中国的少数民族儿童电影走过了不平凡的道路,在丰富和拓展民族艺术的同时,以其自身的独特性和所具备的民族风格和民族文化,在历史、文化、空间三个书写维度中呈现出新的特征,加强了民族间的交流。因此,对中国少数民族儿童电影的现状与问题研究显得更为急迫,对中国少数民族儿童电影的良性发展空间进行新的探索是极为必要的。本文主要以电影美学、电影叙事学、叙事心理学等电影理论为基础,依据民族儿童的个性和现代性发展等相关知识,在注重历史和逻辑统一的前提下,多维度地对中国少数民族儿童电影的创作进行探讨。本文共有五个章节,第一章是绪论部分,主要包括研究背景、文献综述、研究对象和意义。第二章首先对“儿童电影”的相关概念进行梳理,并明确阐述中国少数民族儿童电影的概念。其次,分析儿童电影观众群体的特殊性,最后,将中国少数民族儿童电影着眼于中国儿童电影的发展史中,以中国少数民族电影史为依据,将其发展历程分为六个发展阶段,对其创作背景、生产状况和创作特点进行阐述。第三章则对研究对象的叙事策略进行论述,第一节对其进行主题上的分类阐述,第二节运用“故事与人格”的人格叙事理论,对中国少数民族儿童电影进行叙事分析,第三节分析其电影中的儿童形象和成人形象的塑造。第四章主要对中国少数民族儿童电影的影像特征进行分析,论述其地域、民俗和文化等特征。第五章依据国产电影宣传发行的背景,对今后的中国少数民族儿童电影的市场空间进行良性的探索。首先,探讨其类型化的发展策略,影视人才的培养和市场运营模式。通过对比分析,积极借鉴伊朗儿童电影的创作经验。最后,本文的结语部分重申了所研究对象的独特性,虽然,中国少数民族儿童电影在“阵痛中成长”且面临着发行之困,但是它依旧可以创造辉煌。
[Abstract]:Film is a comprehensive art of audiovisual, and the main audience of children's films is children and adolescents. For more than half a century, Chinese minority children's films have gone through an extraordinary road. While enriching and expanding national art, they have their own uniqueness and national style and culture in history and culture. The three writing dimensions of space show new features and strengthen the communication between nationalities. Therefore, it is more urgent to study the current situation and problems of Chinese minority children's films, and it is extremely necessary to explore new space for the healthy development of Chinese minority children's films. This paper is mainly based on film aesthetics, film narratology, narrative psychology and other film theories, based on the relevant knowledge of national children's personality and modern development, and on the premise of paying attention to the unity of history and logic. This paper probes into the creation of Chinese minority children's films in many dimensions. There are five chapters in this paper, the first chapter is the introduction, including the research background, literature review, research object and significance. The second chapter firstly combs the related concepts of children's films, and expounds the concept of Chinese minority children's films. Secondly, analyzing the particularity of children's film audience group, finally, focusing on the development history of Chinese children's film, according to the history of Chinese minority film, the development process is divided into six stages. To its creation background, production condition and creation characteristic carries on the elaboration. The third chapter discusses the narrative strategy of the research object, the first section classifies it on the theme, and the second section uses the personality narrative theory of "Story and Personality" to analyze the narrative of Chinese minority children's films. The third section analyzes the images of children and adults in his films. The fourth chapter mainly analyzes the image features of Chinese minority children's films, and discusses its regional, folk and cultural characteristics. The fifth chapter explores the market space of Chinese minority children's films in the future according to the background of domestic film publicity and distribution. First of all, it discusses its type of development strategy, film and television talent training and market operation model. Through comparative analysis, we can learn from the creative experience of Iranian children's films. Finally, the conclusion of this paper restates the uniqueness of the research object. Although the Chinese minority children's film "growing up in labor pain" and facing the difficulty of release, it can still create brilliance.
【学位授予单位】：内蒙古师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905

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