后现代主义语境下的中国微电影

发布时间：2018-06-29 11:47

本文选题：微电影 + 后现代主义　；参考：《山西大学》2014年硕士论文

【摘要】：微电影是一种新兴的电影类型。它迎合了只能使用“碎片化”时间来娱乐的受众的需求,同时也满足了受到“限广令”影响而急需找到新的广告投放平台的企业的需求。微电影的创作模式初见端倪,在“草根”自拍、企业定制和专业团队制作三种创作模式中企业定制模式相对成熟,但三者都推动着微电影的快速发展。微电影的雏形是在2005年形成的。那时后现代主义的影响已经深入到各个领域,微电影当然也不自觉地带有后现代主义的印记,所以笔者就把中国微电影置于后现代主义语境下,从微电影的视听语言角度出发,以景别、声画关系、镜头的运动方式这三个视觉元素以及字幕、音乐、音响这三个听觉元素为切入点,分析后现代主义语境下中国微电影的视听语言呈现出的感官刺激和娱乐大众的特点；同时把解构、戏仿的叙事策略与实际案例相结合分析后现代主义语境下的中国微电影呈现出的颠覆经典、消解权威的特点；最后研究后现代主义语境下中国微电影的主题呈现,即喜剧化的风格和反叛性的书写,并结合具体案例做了深入的分析。本文中笔者在对微电影的概念进行界定以后,分析其产生的背景并对微电影的发展脉络进行梳理。此外笔者在分析我国微电影发展现状的同时发现它还存在许多不足之处。因此笔者集合众家之长,加之笔者的深入分析,针对其不足之处提出了可行性的解决策略,同时为其未来的发展走向提出了自己的一些粗浅的建议,以期促进中国微电影的良性发展。
[Abstract]:Micro-film is a new type of film. It caters to the needs of audiences who can only use "fragmentation" time to entertain, as well as the needs of companies affected by "limited reach" that need to find new advertising platforms. The creative mode of micro-film is beginning to emerge. In the three creation modes of "grassroots" selfie, enterprise customization and professional team production, the enterprise customization mode is relatively mature, but all three promote the rapid development of micro-film. The prototype of microfilm was formed in 2005. At that time, the influence of postmodernism had already reached every field, and micro-movies of course had the imprint of post-modernism, so the author put Chinese micro-movies in the context of post-modernism, starting from the perspective of audiovisual language of micro-movies. Starting with the three visual elements, namely, scene differentiation, the relationship between sound and painting, the mode of motion of the lens, as well as the three auditory elements of subtitle, music and sound, In the context of postmodernism, the Audio-visual language of Chinese micro-film shows the characteristics of sensory stimulation and entertainment to the public, while deconstructing, Combining parody narrative strategy with practical cases, this paper analyzes the subversive classic and deconstruction of authority in Chinese micro-movies in the context of postmodernism, and finally studies the theme presentation of Chinese micro-movies in the context of post-modernism. That is comedy style and rebellious writing, and combined with specific cases to do in-depth analysis. After defining the concept of micro-film, the author analyzes its background and combs the development of micro-film. In addition, the author analyzes the development of micro-film in China and finds that it still has many shortcomings. Therefore, the author gathers the strong points of many families, combined with the author's in-depth analysis, puts forward some feasible solutions to its shortcomings, and puts forward some superficial suggestions for its future development. In order to promote the benign development of micro-film in China.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

【参考文献】