發(fā)布時(shí)間：2019-04-28 11:40

【摘要】：從小說到電影,由于溝通媒介的變化,我們對(duì)于敘事的認(rèn)識(shí)不斷在發(fā)生轉(zhuǎn)變,而數(shù)字媒體的特征將建構(gòu)非線性敘事的可能性不斷擴(kuò)大,對(duì)于交互敘事的創(chuàng)造無法被內(nèi)容制作者所忽略。因此,當(dāng)涉及到新技術(shù)和試聽元素的時(shí)候,考慮交互敘事的創(chuàng)作是極其重要的�；谝苿�(dòng)設(shè)備的全景影片,對(duì)于尋找能給觀眾提供新的觀影經(jīng)驗(yàn)的創(chuàng)作者來說,是一種極具吸引力的手段,同時(shí)也是一項(xiàng)全新的挑戰(zhàn)。本文闡釋全景影片所帶來的觀眾變化以及視覺語言變革,并以Google Spotlight Stories的影片Buggy Night為分析對(duì)象,論述其交互敘事和視聽特征,并嘗試提出在全景影片中對(duì)觀眾注意力引導(dǎo)的方法。
[Abstract]:From novel to film, due to the change of communication media, our understanding of narrative is constantly changing, and the characteristics of digital media will expand the possibility of constructing nonlinear narrative. The creation of interactive narrative cannot be ignored by content producers. Therefore, when it comes to new technology and audition elements, it is very important to consider the creation of interactive narrative. Panoramic movies based on mobile devices are an attractive tool and a new challenge for looking for creators who can provide viewers with new viewing experience. This paper explains the changes of audience and visual language brought by panoramic film, and discusses the interactive narrative and audio-visual characteristics of Google Spotlight Stories's film Buggy Night, and tries to put forward the method of guiding the audience's attention in panoramic film.
【作者單位】： 中國(guó)傳媒大學(xué)動(dòng)畫與數(shù)字藝術(shù)學(xué)院;
【基金】：國(guó)家科技支撐項(xiàng)目“實(shí)時(shí)移動(dòng)交互數(shù)字影視動(dòng)畫全流程協(xié)同制作平臺(tái)技術(shù)研發(fā)與應(yīng)用”(項(xiàng)目編號(hào):2015BAH52F00)的階段性研究成果
【分類號(hào)】：TB81
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本文編號(hào)：2467596