美国影视剧生产模式对微电影创作的引导

发布时间：2018-03-27 08:05

本文选题：微电影　切入点：美剧　出处：《东北师范大学》2012年硕士论文

【摘要】：国内自2010年起，以网络为依托的微电影逐渐崭露头角，它的出现不仅为电影创作者提供了新的舞台，同时也极大满足了受众对电影文化的需求。“微时长”“微周期”“微成本”是构成微电影的三大特征，与以往传统的电影电视相比，微电影降低了创作门槛，使它彻底拉近了与普通大众的距离，正如上海大学影视学院教授石川所说的那样“过去电影创作是知识精英的特权,现在随着数字技术的发展,精英和草根的界限越来越模糊不清。‘微电影’让草根也可以参与电影创作，想拍就拍，拿起DV就可以，不需要太严格的美学和技术训练。”微电影来势凶猛，它的推动力主要来源于网络平台，根据《第28次中国互联网络发展状况统计报告》的调查：“截止到2011年6月，中国网民达到了4.85亿，微博用户数量从2010年底的6311万爆发增长到1.95亿，成为用户增长最快的互联网应用模式。”《中外电视剧产业发展报告》指出：“超过四千万人只是用网络视频而不看传统电视。”以上可以看出，微电影市场是个充满想象力有着无限发展空间的新领域，它开启了一个新的时代，然而不可违言的是，到目前为止这个领域无论是从创作方向还是创作模式上，都处于混乱无章的状态。尽管如此，一些精品微电影在以新媒体为平台走进人们生活的同时还是赚取了大量的资金和口碑。以姜文的《看球记》、筷子兄弟的《老男孩》为代表的文艺微电影，在社会上取得了强烈反响，人们纷纷感叹于对青春的缅怀对梦想的追求，因为短小所以凝练，因为缩微所以让微电影的表达更加准确。另一方面，以吴彦祖的《一触即发》为代表的纯商业微电影，则是赚的盆满钵溢，众多广告商纷纷看中微电影这一市场，注入大量资金，成为了微电影创作的坚强后盾。其实微电影发展的关键不在于商业或者艺术，而是如何在有限的时间内讲出吸引观众的故事，说到底，微电影是一种快餐文化，想抓住观众眼球并不难，难的是能用一种灵魂性的东西，感动观众。与微电影从无到有的迅猛发展形成反差，以美国影视剧为代表的外国影视节目一直是网络观众趋之若鹜的“精品单元”。以美国影视剧为例，其所以能长期在国内互联网，甚至全球的网络体系中处于霸主地位，探其根本，是因有着成熟完整的营销制作模式和创作系统。试想，既然这一系统能使美国影视剧获得如此成功，那么它是否能运用到微电影的创作之中呢？这一疑问正是本文想要解决的核心问题。本文将对美国电影电视剧创作模式进行细致的分析研究，并尝试将其生产体系引入国内微电影的创作当中，结合目前国内微电影发展现状和所处环境，提出具体实施措施，从而为微电影的实践操作提供可行理论。
[Abstract]:Since 2010, the micro-film based on the network has gradually come to the fore in China, and its emergence has not only provided a new stage for film creators. At the same time, it also greatly meets the needs of the audience for film culture. "tiny time," "micro-period," "micro-cost" are the three major characteristics of micro-film. Compared with the traditional film and television, micro-film has lowered the threshold of creation. As Shi Chuan, a professor at the School of Film and Television of Shanghai University, put it, "Film creation used to be the prerogative of the intellectual elite. Now with the development of digital technology," The line between elite and grassroots is getting more and more blurred. 'micro film' allows grassroots to participate in film creation, shoot whenever he wants, pick up DV, and don't need too much aesthetic and technical training. Its driving force mainly comes from the network platform, according to the survey of the 28th China Internet Development Statistics report: "by June 2011, the number of Chinese Internet users had reached 485 million," The number of Weibo users rose to 195 million from 63.11 million at the end of 2010. It has become the fastest growing mode of Internet applications for users. "more than 40 million people only use online video instead of watching traditional TV," the Chinese and Foreign TV Series Industry Development report points out. The microfilm market is a new realm of imagination and infinite space for development. It opens a new era. However, it cannot be said that so far, this field has been developed in terms of both the direction and the mode of creation. Are in a state of chaos. Even so, some fine microfilms have made a lot of money and public praise while entering people's life on the platform of new media. They are represented by Jiang Wen's the Book of the Ball and the Chopsticks Brothers' the Old Boy. There has been a strong reaction in society, people have lamented the memory of youth and the pursuit of dreams, because of the short so condensed, because of the microfilm so that the expression of more accurate. On the other hand, The pure commercial micro-film represented by Wu Yanzu's "hair-trigger" is overflowing with profits. Many advertisers have been interested in the market of micro-film and injected a lot of money into it. In fact, the key to the development of micro-film is not in business or art, but in how to tell stories that attract viewers in a limited time. In the end, micro-film is a kind of fast-food culture. It's not hard to catch the audience's eyeballs. It's hard to touch the audience with a kind of soul. In contrast to the rapid development of micro-movies from scratch, foreign film and television programs, represented by American film and television dramas, have always been "quality units" for network viewers. Take American film and television dramas as an example, so they can stay on the domestic Internet for a long time. Even the global web system is dominant because it has a mature and complete marketing and production model and a creative system. Imagine that this system can make American movies and TV dramas so successful. Can it be applied to the creation of microfilms? This question is the core problem that this text wants to solve. This article will carry on the careful analysis and research to the American movie and TV drama creation pattern, and try to introduce its production system into the domestic micro-film creation. Combined with the current situation and environment of microfilm development in China, the concrete implementation measures are put forward to provide a feasible theory for the practical operation of micro-film.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J905

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