传播学视角下的微电影叙事研究

发布时间：2018-05-13 12:16

本文选题：微电影 + 传播学　；参考：《成都理工大学》2013年硕士论文

【摘要】：随着互联网技术的不断发展,人类社会形成了后现代“碎片化”文化传播环境,时间被分割成了零散的一段段,人们开始习惯于通过手机、互联网、SNS社交网络以及即时通讯工具来获取信息和娱乐释放。同时视觉文化时代的来临,让人们的娱乐生活和文学艺术更趋于影像化。2010年10月红透互联网的《老男孩》和同年12月具有里程碑意义的由凯迪拉克投拍的《一触即发》,让“微电影”这种以新媒体为主要播放平台,具有微时长(一般不超过40分钟)、微投资(相对于传统电影、电视而言)、微周期(制作时间最长不超过一个月)新的电影艺术形式备受追捧。《老男孩》、《四夜奇谭》、《一触即发》、《嘻哈三部曲》等一大批优秀作品大受欢迎,受众对微电影的接受和喜爱程度明显提升。虽然微电影的理论研究尚未成熟,理论体系也还未搭建完成,业界对微电影也有着不同的看法,但可以肯定的是,微电影正在以坚实的步伐和无可争议的井喷发展融入到我们的生活。相比较对微电影营销效果、传播实践的大量研究,学界对微电影叙事艺术、艺术价值以及审美特征等的研究都只是浅尝辄止。在新媒体数字化浪潮下,微电影作为一个新生事物,还拥有巨大的艺术价值发展潜力和商业价值。虽然,微电影兴起于广告营销的需要,在观察了近两年共二十余部成功的微电影案例后,发现“内容为王”是微电影传播成功的不二法门。而微电影内容的实质便是,导演是否讲了一个好的故事,是否成功地运用了诸如画面、镜头、声音、色彩等叙事元素。总而言之,微电影的好坏是由其叙事的成功决定的。德国著名电影导演施隆多夫曾说：“依托于互联网媒体传播的短篇幅电影是一场电影技术革命。它要求从它的内容、创作到一系列的完成,都必须高度简单化,包括整个叙事的风格。”怎么从母体的传播电影中找到适合网络新媒体这一平台、适合数字化发展下的叙事语言和视听元素叙事手法,从而达到相当的传播效果显得尤为重要。微电影的叙事艺术、传播特征分析的研究对整个新媒体文化产业的发展具有非常重要的理论研究价值和实践指导意义。然而微电影不同于传统电影,它短小精悍、网络特色鲜明、其参与性超越了传统电影的欣赏性,同时,消解了传统电影的权威性,有其独特的传播特点和叙事特征。在现实创作中,由于微电影的创作门槛低以及一些创作者对微电影叙事艺术的理解不足,导致微电影的制作水准良莠不齐,在网络中呈现出产出大、精品少、传播效果不理想的问题。本文综合运用传播学、影视艺术学、电影叙事学、符号学、影视美学等相关理论与方法对微电影的叙事继续进行了探索研究。本文第一章是绪论,内容为本文的选题意义——充实微电影叙事艺术的理论建设和指导实践、文献综述以及研究方法。第二章为微电影的概述。第一部分,首先对微电影的概念进行了简要界定。其次以时间为轴,重要的微电影作品和事件为节点,回顾了微电影在中国的发展历史；然后简要分析了微电影的发展现状：两极分化严重、原创和专业制作并行、内容为王。第二部分从网络数字媒体技术的成熟、后现代碎片化文化传播环境和视觉文化时代的来临、“三微”属性符合时代需求以及商业广告的需求四个方面分析了微电影兴起的原因。第三章从传播学视角下进行微电影叙事分析。第一部分是基于“媒介即讯息”理论下的微电影叙事分析。第二部分分析了微电影的五个传播特征,分别为传播过程具有互动性、传播主题的专业化与大众化、传播内容丰富、传播方式多元化时效性强以及分众化的传播模式和多样的传播渠道。第三部分从四个方面分析了微电影的传播受众。第四部分为微电影的传播效果分析。第四章为微电影的叙事研究。首先,简要地阐述了叙事学和当今四种流派的电影叙事理论。随后,以前两节的理论为支撑结合实例分析了微电影的四个叙事特征,分别是叙事主题平民化,新媒体环境下草根文化兴起、叙事类型生活化、网络化的叙事风格,狂欢化的语境下的微电影文化和碎片化、非线性、互动的叙事结构。再结合热门微电影从影像的符号化表达、声音功能的发挥和色彩及动漫的运用来分析微电影自由大胆的叙事元素运用。最后还从结合案例解析了微电影多元的叙事价值取向和青春化的叙事主题。第五章的第一部分列举了目前我国微电影叙事艺术发展出现的问题：一、跟风模仿明显、质量良莠不齐；二、过于注重视觉狂欢而忽视了深度思考；三、部分微电影只注重消费性,媚俗化明显,缺乏人文关怀；四、受众和市场的发展悖论。第二部分为解决建议：一、倡导对于微电影艺术价值的深度挖掘；二、提倡和扶持微电影原创,不断创新表现手法；三、在提倡多元化表达的前提下,注重人文关怀。最后本文结语：微电影作为一门新型的视听艺术,其美学价值还远未被充分发掘。本文的创新之处是从传播学视角出发,从叙事艺术和影视语言两方面深度地解读了微电影,指出了微电影叙事目前存在的问题,并提出了解决意见,希望能为微电影的长期健康发展提供参考和借鉴。
[Abstract]:With the continuous development of Internet technology, human society has formed a post modern "fragmented" cultural communication environment. Time has been divided into a scattered section. People began to get used to the release of information and entertainment through mobile phones, the Internet, SNS social networks and instant communication tools. At the same time, the coming of the age of visual culture has brought people to the people. The entertainment life and literature and art tend to be more imaging.2010 October red transparent Internet "old boy >" and the milestone of the same year in December, which was made by Cadillac, which made "micro film" the main playing platform with new media, with a micro time (generally not more than 40 minutes), micro investment (compared with traditional movies, On television), the new form of film art is highly sought after in the micro cycle (the longest time not more than a month). < old boy > < four nights', < 1 touch >, the hip-hop trilogy > a large number of excellent works are popular, and the audience's acceptance and affection for the micro film are obviously improved.
Although the theoretical research of micro film has not yet matured, the theoretical system has not been completed yet, the industry has different views on microfilms, but it is certain that microfilms are integrating into our lives with solid steps and undisputed blowout. The research on the narrative art, artistic value and aesthetic characteristics of micro films is only a tad.
Under the tide of new media digitization, micro film, as a new thing, also has great potential for the development of artistic value and commercial value. Although micro film is rising in the need of advertising marketing, after observing more than twenty successful micro film cases in the past two years, it is found that "content is King" is not the second method of the success of micro film communication. The essence of the film is whether the director has told a good story, whether it successfully uses narrative elements such as pictures, lenses, sounds and colors. In a word, the good and bad of the film is determined by the success of its narrative. Shi Longduo, a famous German film director, once said: "short pieces based on the media of the Internet. The film is a film technological revolution. It requires its content, creation to a series of completion, which must be highly simplified, including the style of the whole narrative. "How to find a platform suitable for the new media from the mother's communication film, suitable for the digital development of the narrative and audio-visual elements. The effect of the communication is particularly important. The research on the narrative art of the micro film and the analysis of the communication features has very important theoretical research value and practical guiding significance for the development of the whole new media culture industry.
However, the micro film is different from the traditional film. It is short and vigorous with distinctive features of the network. Its participatory features surpass the appreciation of the traditional film. At the same time, it dispels the authority of the traditional film and has its unique characteristics of communication and narrative. In the reality, the creation of micro films is low and some creators have the narrative art of micro films. The lack of understanding has led to the uneven production of micro films, and the problem of large production, few quality products and poor dissemination results in the network.
This paper continues to explore the narrative of micro film by using the theories and methods of communication, film and television art, film narratology, semiotics and film and Television Aesthetics. The first chapter is the introduction, which is the significance of this article: enriching the theoretical construction and guiding practice of the micro film narrative art, literature review and research. Method.
The second chapter is an overview of micro film. First, the concept of micro film is briefly defined. Secondly, the development history of micro films in China is reviewed with time as the axis, important micro film works and events as nodes, and then the development status of micro films is briefly analyzed: the polarization is serious, original and professional production is parallel, The second part is from the maturity of the network digital media technology, the post modern fragmented cultural communication environment and the coming of the visual culture era. The "three micro" attribute is in line with the needs of the times and the demand of commercial advertising in four aspects to analyze the reasons for the rise of the micro film.
The third chapter carries out the analysis of the micro film narrative from the perspective of communication. The first part is based on the analysis of the micro film narrative under the theory of "media is information". The second part analyses the five characteristics of the micro film, which are the interaction of the communication process, the specialization and popularization of the theme, the rich communication content and the multiple communication mode. The third part analyses the communication audience of the micro film from four aspects. The fourth part is the analysis of the transmission effect of the micro film.
The fourth chapter is the narrative research of micro film. First, it briefly expounds the narrative theory of narratology and the film narrative theory of the four genres today. Then, the theory of the previous two sections analyzes the four narrative features of the microfilm for the support of an example, which are the civilian narrative theme, the rise of the grass root culture under the new media environment, the life of the narrative type, and the network. The narrative style, the micro film culture and fragmentation, the nonlinear, and the interactive narrative structure in the carnival context, and the use of the popular micro film from the symbolic expression of the image, the play of sound function and the use of color and animation to analyze the use of the free and bold narrative element of the micro film. Pluralistic narrative value orientation and youth narrative theme.
The first part of the fifth chapter enumerates the problems of the development of Chinese micro film narrative art: first, the following imitation is obvious, the quality and the good and the bad are different; two, pay too much attention to the visual Carnival and neglect the deep thinking; three, some micro films only pay attention to consumption, vulgarization and lack of humanistic care; four, the paradox of the development of the audience and the market. The second part is to solve the suggestions: first, to promote the deep excavation of the artistic value of the micro film; two, promote and support the original micro film, and constantly innovate the expression techniques; three, on the premise of advocating pluralistic expression, pay attention to humanistic care.
Finally, the conclusion of this paper is that the aesthetic value of micro film as a new audio-visual art is far from being fully explored.
The innovation of this paper is from the perspective of communication, from the two aspects of narrative art and film and television language, in-depth interpretation of micro films, point out the existing problems of micro film narrative, and put forward some suggestions to solve the long-term healthy development of micro films to provide reference and learning.

【学位授予单位】：成都理工大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905;G206

【参考文献】