传播学视野下我国文艺片“叫好不叫座”现象研究

发布时间：2018-06-14 11:12

本文选题：文艺片 + “叫好不叫座”　；参考：《华中师范大学》2017年硕士论文

【摘要】：文艺片是我国电影市场中一种较为特殊的电影类型,其口碑一直较好,但是票房却一直处于劣势,因此文艺片一直被认为是“叫好不叫座”的。本论文之所以将研究视角定位于文艺片,是因为其所追求的艺术性和思想性对受众来说不可或缺。文艺片在商业化电影市场遭受冷遇是当下影坛存在的普遍现象,值得影视业界和学术界关注。当前,“互联网+”的理念已经开始在社会各个层面被广泛运用,因此,运用互联网思维,在“互联网+”理念的引领下,从传播学视野研究我国文艺片“叫好不叫座”的现象,正是本论文的研究思路和创新点。本论文的研究目的,是基于“5W”模式对我国文艺片“叫好不叫座”的现象进行分析,从传播者、传播内容、传播渠道、受众和传播效果等五方面着手,通过分析文艺片的一系列电影票房现象,探讨票房失败的深层原因,弄清楚文艺片如何融入“互联网+”时代的电影生态圈,其制作、营销等过程中如何融合网络自媒体信息传播模式,促进文艺片的市场拓展。论文采用多种传播学研究方法进行深入研究和探讨,但以定量研究和定性分析为主要方法。其中,基于“豆瓣”和“知乎”两大网站的观察体验式调查,对本论文的研究提供了许多厚实材料,并形成了清晰的思路。论文的研究认为,当前我国文艺片存在“叫好不叫座”这一普遍现象的原因是多方面而且是复杂的,但主要的原因是:电影生产者存在先天劣势、内容创作未迎合主流、受众欣赏水平参差不齐以及商业效益低下等。时有出现的一些口碑票房双丰收的文艺片如《白日焰火》等,也为文艺片的生存与发展提供了很好的借鉴范本,有助于探究缓解文艺片的票房困境的策略和路径。通过对这类较为成功的文艺片的运作方式的研究,以及结合“互联网+”的时代背景,本论文对促进文艺片的良性发展提出了对策性思考,如建立新兴传播平台、革新内容制作,以及借助新兴自媒体打造特色社群,细分目标受众,加强小众传播,并以传播学思维拓展营销渠道等。总之,在当前“互联网+”时代,票房不应该也不再是衡量一部电影成功与否的唯一标准,将互联网思维运用到文艺片从创作到院线发行的全流程,文艺片和商业片的界限可以逐渐缩小甚至消除。
[Abstract]:Literature and art film is a special kind of film in the film market of our country, its word-of-mouth is always good, but the box office is always at a disadvantage, so literary and artistic film is always regarded as "not to be popular". The purpose of this thesis is to focus the research on literature and art films because their artistic and ideological content is indispensable to the audience. It is a common phenomenon of film industry and academic circles that literature and art films receive a cold reception in the commercial film market. At present, the concept of "Internet" has been widely used in all levels of society. Therefore, under the guidance of the concept of "Internet", the use of Internet thinking, It is the research idea and innovation of this paper to study the phenomenon of "no popularity" in Chinese literature and art films from the perspective of communication. The purpose of this paper is to analyze the phenomenon of "no popularity" in Chinese literature and art films based on the "5W" model, starting from five aspects: communicator, content, channel, audience and effect. By analyzing a series of film box office phenomena of literary and artistic films, this paper probes into the deep causes of box office failure, and finds out how literary and artistic films fit into the film ecological circle in the era of "Internet" and how to make them. In the process of marketing, how to integrate the network self-media information dissemination mode to promote the market expansion of literature and art films. In this paper, a variety of communication research methods are used for further study and discussion, but quantitative research and qualitative analysis are the main methods. Among them, based on the observation and experiential investigation of "Douban" and "Zhihu", the research of this paper has provided a lot of thick materials and formed a clear idea. The research of this paper holds that there are many and complicated reasons for the common phenomenon of "not being popular" in Chinese literature and art films at present, but the main reasons are that the film producers have innate disadvantages and the content creation has not catered to the mainstream. Audience appreciation level of uneven and low commercial efficiency and so on. Some popular box-office flicks such as fireworks in the White Day also provide a good model for the survival and development of literary films, which is helpful to explore the strategies and ways to alleviate the box office predicament of literary films. Through the study of the operation mode of this kind of more successful literature and art films and the background of the times of "Internet", this paper puts forward some countermeasures to promote the benign development of literary and artistic films, such as the establishment of a new communication platform. Innovative content production, and with the help of new media to create a unique community, subdivision of the target audience, strengthen minority communication, and communication thinking to expand marketing channels and so on. In short, in the current "Internet" era, the box office should not and no longer be the sole criterion for measuring the success of a movie, and apply Internet thinking to the whole process of literary and artistic films from creation to cinema distribution. The boundary between literary and commercial films can be gradually narrowed or even eliminated.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：G206;J951

【参考文献】