本文選題：華語“文藝片” + 生態(tài)建構(gòu)��； 參考：《南京師范大學(xué)》2017年碩士論文

【摘要】：自電影誕生以來,“文藝片”以獨(dú)特的藝術(shù)性和深刻的思想性成為促性電影語言進(jìn)步革新的片型之一,在世界電影史中有著重要的地位。而由于特殊的歷史環(huán)境和政策體制,“文藝片”在我國(guó)并沒有發(fā)展成為電影類型之一,學(xué)界也缺少對(duì)“文藝片”明確清晰的定義,但這些因素并未影響大眾對(duì)于“文藝片”的熟悉。縱覽中國(guó)電影史,“文藝片”作為一種現(xiàn)象在我國(guó)的發(fā)展呈現(xiàn)出雜糅漸變的軌跡。自20世紀(jì)90年代以獨(dú)立電影的面貌出現(xiàn),經(jīng)歷了地下電影、作者電影等階段,在新世紀(jì)之后,隨電影產(chǎn)業(yè)化進(jìn)程的前進(jìn),逐漸與市場(chǎng)結(jié)合,發(fā)展為當(dāng)下的大眾“文藝片”形態(tài)。但在這一過程中,華語“文藝片”的生存空間始終沒有得到質(zhì)的擴(kuò)展,新世紀(jì)前十年在國(guó)產(chǎn)商業(yè)大片的擠壓下基本處于“失語”狀態(tài),2010年之后隨著互聯(lián)網(wǎng)的興起有了相對(duì)較大的發(fā)展空間,其題材、情節(jié)、拍攝手法的主流化逐漸引起了觀眾的注意,融合商業(yè)元素的制作宣發(fā)更使一部分“文藝片”票房獲得了空前的成功,華語“文藝片”貌似迎來了春天。但從整體而言,大多數(shù)“文藝片”依然處于無法收回成本的市場(chǎng)窘境中,其生存情況不容樂觀。本文通過梳理華語“文藝片”的發(fā)展變化過程,對(duì)“文藝片”現(xiàn)象進(jìn)行界定分析,根據(jù)新世紀(jì)以來華語“文藝片”的制作、宣發(fā)、放映情況,結(jié)合當(dāng)下電影市場(chǎng)大環(huán)境,為其生存發(fā)展和商業(yè)路徑提出建議。全文除緒論和結(jié)語外,共分為四章。緒論部分簡(jiǎn)要敘述了本課題的研究背景、現(xiàn)狀、思路、方法和意義,從總體上明確了本文對(duì)象及研究思路。第一章通過歸納整理學(xué)界、大眾、業(yè)界三方對(duì)于“文藝片”的看法及定義,在此基礎(chǔ)上對(duì)本文所要研究的“文藝片”現(xiàn)象進(jìn)行闡述界定并列出研究對(duì)象;進(jìn)而總結(jié)出其在歷史流變中形成的審美類型,為本文所研究的華語“文藝片”定下基調(diào)。第二章從華語電影整體著眼,由新世紀(jì)華語電影的發(fā)展概況,逐步深入至華語“文藝片”萌芽、發(fā)展、變化的過程,分析華語“文藝片”在這一大環(huán)境下的發(fā)展軌跡。在此基礎(chǔ)上,從政治、商業(yè)、消費(fèi)心理三個(gè)角度分析影響“文藝片”發(fā)展的外部因素,勾勒出素,紀(jì)以來華語“文藝片” 的面貌。第三章通過調(diào)查收集新世紀(jì)以來華語“文藝片”的創(chuàng)作和市場(chǎng)情況,逐層論述“文藝片”選題內(nèi)容的思想訴求和深度缺失,制作形式的藝術(shù)呈現(xiàn)與商業(yè)妥協(xié),宣傳發(fā)行環(huán)節(jié)的局限粗放和院線放映的惟利不成熟是當(dāng)下其在市場(chǎng)環(huán)境下面臨的問題。進(jìn)而從完善產(chǎn)業(yè)格局、培養(yǎng)審美趣味、扶持青年導(dǎo)演三方面闡釋“文藝片”的生態(tài)建構(gòu)情況,明確“文藝片”在電影市場(chǎng)中的重要作用。通過與商業(yè)電影橫向的比較和與自身縱向的比較,剖析華語“文藝片”身處困境的原因。第四章在上一章探究歸納“文藝片”發(fā)展面臨問題的基礎(chǔ)上,結(jié)合實(shí)例分析,有針對(duì)性地從主觀創(chuàng)作、受眾考量、推介終端、政策制度四個(gè)角度入手,首先通過對(duì)影片內(nèi)容、節(jié)奏、演員元素的把控,在創(chuàng)作層面有所改善;其次對(duì)市場(chǎng)進(jìn)行細(xì)分,結(jié)合影片特點(diǎn)和觀眾審美對(duì)影片精準(zhǔn)定位;再次,在宣發(fā)環(huán)節(jié),挖掘片中的商業(yè)元素進(jìn)行線上傳播,針對(duì)目標(biāo)觀眾組織線下活動(dòng),線上線下相結(jié)合達(dá)到最大的宣傳效果。并根據(jù)影片自身特點(diǎn)和同時(shí)段影片的上映情況選定合適檔期,在最后一環(huán)的院線放映加強(qiáng)宣傳,爭(zhēng)取最大數(shù)量的受眾。最后,升至制度層面,從國(guó)家政策、專項(xiàng)資金和建立藝術(shù)院線三方面對(duì)擴(kuò)大華語“文藝片”的生存空間及商業(yè)路徑提出對(duì)策建議。
[Abstract]:Since the birth of the film, "literary and artistic films", with unique artistic and profound ideological nature, has become one of the most important films for the advancement and innovation of the sexual film language. It has an important position in the history of the world film. And because of the special historical environment and policy system, "literary and artistic films" have not developed into one of the types of films in China and the academic circles are also lacking. The definition of "literary and artistic films" is clear and clear, but these factors do not affect the public's familiarity with the "literary and artistic films". In the history of Chinese films, "literary and artistic films", as a phenomenon, appear in the development of our country. Since the appearance of the independent film in 1990s, it has experienced the underground films, the author's films and so on. In the new century, with the progress of the film industrialization, it is gradually combined with the market to develop into the current form of popular "literary and artistic film". However, in this process, the living space of Chinese "literary and art films" has not been substantially expanded, and the ten years before the new century are basically in the state of "Aphasia" under the extrusion of domestic commercial blockbusters in the new century, 201 0 years later, with the rise of the Internet, there is a relatively large space for development, the theme, the plot, the mainstream of shooting techniques have gradually aroused the attention of the audience. The production of the integration of commercial elements has made a part of the box office of "literary and art film" more successful, and the Chinese "literary film" seems to usher in the spring. Most of the "literary and artistic films" are still in the market dilemma that can not be recovered, and their survival situation is not optimistic. By combing the process of the development and change of Chinese "literary and art films", this paper defines and analyzes the phenomenon of "literary and artistic films", according to the production, dissemination and projection of Chinese "literary and art films" since the new century, combined with the current film market. In addition to the introduction and conclusion, the full text is divided into four chapters in addition to the introduction and conclusion. The introduction gives a brief account of the research background, current situation, ideas, methods and significance of this subject. The first chapter has clearly defined the object and research ideas of this paper. The first chapter passes through the summary and collation, the public and the industry three parties to the "literature and art". On the basis of this, it defines the phenomenon of "literary film" and lists the research objects, and then sums up the aesthetic types formed in the historical evolution, and sets the tone for the Chinese language "literary and artistic films" in this article. The second chapter focuses on the Chinese film as a whole and the Chinese film in the new century. The development of the Chinese language "literary and artistic films" has been gradually deepened to the process of development and change. On the basis of this, the external factors affecting the development of "literary and artistic films" are analyzed from three angles of politics, commerce and consumption psychology, and the Chinese language "literary and artistic films" since the period of the period are outlined. The third chapter, through the investigation and collection of the creation and market situation of Chinese "literary and artistic films" in the new century, discusses the ideological demand and depth of the topic selection of "literary and artistic films", the artistic presentation and commercial compromise in the form of production, the limitations of the extensive distribution link and the immaturity of the hospital line showing at the moment in the market ring From the three aspects of perfecting the industrial pattern, cultivating the aesthetic taste and supporting the young directors to explain the ecological construction of the "literary film", the important role of the "literary film" in the film market is clearly defined. By comparing with the commercial films horizontally and comparing with their own vertical, the dilemma of Chinese "literary and artistic films" is analyzed. The fourth chapter, on the basis of the previous chapter, explores and summarizes the problems of the development of "literary and art films", combining with the analysis of examples, it has four angles: subjective creation, audience examination, introduction of terminal and policy system, first through the control of the content, rhythm and actor elements of the film, the creation level has improved; secondly, the market is entered. Line segmentation, combined with the feature of the film and the audience's appreciation of the film precision positioning; again, in the transmission link, the commercial elements in the mining film on the line, for the target audience organized under the line of activities, online and offline combined to achieve the maximum publicity effect. In the last circle, it is shown to strengthen propaganda and strive for the maximum number of audiences. Finally, it is promoted to the system level. From the three aspects of national policy, special funds and the establishment of art academy line, the countermeasures and suggestions are put forward to expand the living space and commercial path of Chinese language "literary and art films".

【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J943

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本文編號(hào)：1778203