發(fā)布時間：2018-06-29 11:47

  本文選題：微電影 + 后現(xiàn)代主義　； 參考：《山西大學(xué)》2014年碩士論文

【摘要】：微電影是一種新興的電影類型。它迎合了只能使用“碎片化”時間來娛樂的受眾的需求,同時也滿足了受到“限廣令”影響而急需找到新的廣告投放平臺的企業(yè)的需求。微電影的創(chuàng)作模式初見端倪,在“草根”自拍、企業(yè)定制和專業(yè)團隊制作三種創(chuàng)作模式中企業(yè)定制模式相對成熟,但三者都推動著微電影的快速發(fā)展。微電影的雛形是在2005年形成的。那時后現(xiàn)代主義的影響已經(jīng)深入到各個領(lǐng)域,微電影當(dāng)然也不自覺地帶有后現(xiàn)代主義的印記,所以筆者就把中國微電影置于后現(xiàn)代主義語境下,從微電影的視聽語言角度出發(fā),以景別、聲畫關(guān)系、鏡頭的運動方式這三個視覺元素以及字幕、音樂、音響這三個聽覺元素為切入點,分析后現(xiàn)代主義語境下中國微電影的視聽語言呈現(xiàn)出的感官刺激和娛樂大眾的特點；同時把解構(gòu)、戲仿的敘事策略與實際案例相結(jié)合分析后現(xiàn)代主義語境下的中國微電影呈現(xiàn)出的顛覆經(jīng)典、消解權(quán)威的特點；最后研究后現(xiàn)代主義語境下中國微電影的主題呈現(xiàn),即喜劇化的風(fēng)格和反叛性的書寫,并結(jié)合具體案例做了深入的分析。本文中筆者在對微電影的概念進行界定以后,分析其產(chǎn)生的背景并對微電影的發(fā)展脈絡(luò)進行梳理。此外筆者在分析我國微電影發(fā)展現(xiàn)狀的同時發(fā)現(xiàn)它還存在許多不足之處。因此筆者集合眾家之長,加之筆者的深入分析,針對其不足之處提出了可行性的解決策略,同時為其未來的發(fā)展走向提出了自己的一些粗淺的建議,以期促進中國微電影的良性發(fā)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.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 鄭軍;王以寧;白昱;;新媒介語境下微電影的后現(xiàn)代敘事特征初探[J];東北師大學(xué)報(哲學(xué)社會科學(xué)版);2012年06期

2 吳競椺;陳尚榮;;“微電影”的藝術(shù)特征、發(fā)展現(xiàn)狀及未來走向[J];中國電影市場;2012年09期

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本文編號：2082013