本文選題：多元文化 + 非遺��； 參考：《河北大學》2017年碩士論文

【摘要】：在多元文化語境下的現(xiàn)代社會,非遺類專題片以其承擔的文化責任、社會功能面臨著眾多的機遇與挑戰(zhàn)。非物質(zhì)文化遺產(chǎn)作為古老的文化傳承,與快節(jié)奏、信息化的現(xiàn)代社會存在一定的矛盾,傳統(tǒng)技藝作為小眾文化藝術形式,又與電視媒介這樣大眾傳播的載體存在矛盾,傳統(tǒng)文化的節(jié)奏與現(xiàn)代元素的節(jié)奏同樣存在著矛盾,融合的過程一定會有摩擦,例如在通過電視向大眾傳播非物質(zhì)文化遺產(chǎn)時,觀眾接受的較為困難,或者難以贏得共鳴。多數(shù)非遺類專題片因其單純的展現(xiàn)制作技藝而顯得乏味無趣,表現(xiàn)形式單一,除部分熱愛傳統(tǒng)文化的觀眾愿意觀看之外,再無傳播受眾,非物質(zhì)文化遺產(chǎn)的重視度依然不夠,普通人也難以做到文化自覺,所以無法對此有太多的關注,這也就失去了電視專題片的制作初衷。而這樣的先例比比皆是,很多枯燥講解式的專題片都以失敗告終,在大眾把電視作為娛樂方式時,這樣顯然難以調(diào)動觀眾的觀看趣味,何談產(chǎn)生更多的附加價值。其次,非遺類專題片的創(chuàng)作過程中受到制約,非遺本身傾向于“文化記憶”,隨著時代的變遷和社會的發(fā)展,造成它逐漸消失在大眾視野中,也造成資料、技藝的消失,這就使得拍攝過程必然會有很大的難度,也因非遺類專題片范圍小,對共性規(guī)律的學術性研究較少,難以對創(chuàng)作進行有效的指導,其面臨的問題也亟待找到解決的出口。
[Abstract]:In modern society in the context of multiculturalism, non-posthumous feature films are faced with many opportunities and challenges because of their cultural responsibilities. As an ancient cultural heritage, there is a certain contradiction between the intangible cultural heritage and the fast-paced and information-based modern society, the traditional art as a form of minority culture and art, and the carrier of mass communication such as television media. There are contradictions between the rhythm of traditional culture and the rhythm of modern elements, and there must be friction in the process of integration. For example, when the intangible cultural heritage is transmitted to the public through television, it is difficult for the audience to accept it, or it is difficult to win resonance. Most non-posthumous feature films are boring and uninteresting because of their simple display of production skills. Except for some viewers who love traditional culture, they are willing to watch and have no audience to spread. The intangible cultural heritage is still not paid enough attention to. Ordinary people are also hard to achieve cultural awareness, so can not pay much attention to this, this also lost the original intention of the production of television feature films. Such precedents abound, and many boring monographs end in failure. When the public uses television as a form of entertainment, it is obviously difficult to arouse the audience's viewing interest and generate more added value. Secondly, the creation process of non-posthumous feature films is restricted, and non-posthumous films tend to be "cultural memory". With the changes of the times and the development of society, it gradually disappears into the public view, and it also causes the disappearance of materials and skills. This will make the shooting process will be very difficult, but also because of the small scope of non-legacy feature films, the academic research on the common law is less, it is difficult to guide the creation effectively, and the problems it faces need to be solved urgently.
【學位授予單位】：河北大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J952

【參考文獻】

相關期刊論文 前1條

1 李微;余建榮;;試論非物質(zhì)文化遺產(chǎn)的新媒體傳播策略[J];新聞知識;2014年02期

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本文編號：2108149