本文選題：電子媒介 + 媒介形態(tài)�。� 參考：《華中師范大學(xué)》2017年碩士論文

【摘要】：戲曲是中華文化的重要組成部分,承載著華夏兒女的情感認(rèn)同和審美觀念。它在傳播中生存和發(fā)展,歷經(jīng)了口頭傳播、印刷傳播、電子傳播等傳播階段,使戲曲藝術(shù)的表演形式、創(chuàng)作類(lèi)型、受眾的審美觀念都發(fā)生了巨大變革,特別是廣播、電視等電子媒介與戲曲的融合使戲曲真正走進(jìn)千家萬(wàn)戶(hù),融入百姓生活。然而,近年來(lái)隨著電子媒介技術(shù)的極速更迭,以網(wǎng)站為代表的網(wǎng)絡(luò)媒體已經(jīng)與人們“形影不離”,其實(shí)時(shí)性、交互性、自主性、與共享性的特點(diǎn)給現(xiàn)代傳播產(chǎn)生了革命性的變革。同時(shí)社會(huì)的變革和發(fā)展使人們的生活?yuàn)蕵?lè)方式也隨之轉(zhuǎn)向,生活節(jié)奏的加快,物質(zhì)生活的滿(mǎn)足,人們的消費(fèi)觀念和娛樂(lè)選擇也發(fā)生了根本性的變化。于是年輕一代的觀眾紛紛“叛逃”,只留下老年戲迷稀疏的喝彩和戲曲工作者的“自?shī)首詷?lè)”。這些因素使戲曲藝術(shù)的傳播和發(fā)展空間受到前所未有的擠壓和挑戰(zhàn),因此戲曲傳播如何應(yīng)對(duì)信息化變革帶來(lái)的沖擊和挑戰(zhàn)并重獲新生是亟待解決的關(guān)鍵問(wèn)題。本文共包含五個(gè)部分:第一部分從戲曲的生存現(xiàn)狀和政策背景論述研究緣起,并綜述學(xué)界對(duì)戲曲傳播的研究現(xiàn)狀,闡述本文的理論支撐——媒介形態(tài)理論和研究方法,提出本文研究的意義和核心問(wèn)題。第二部分從廣播、電影、電視、互聯(lián)網(wǎng)四個(gè)方面梳理電子時(shí)代戲曲傳播的媒介變遷歷程,全景展現(xiàn)電子媒介與戲曲的融合。第三部分以電視節(jié)目《梨園春》為例分析電子媒介對(duì)戲曲傳播產(chǎn)生的影響。第四部分使用觀察法和問(wèn)卷調(diào)查分析當(dāng)下戲曲傳播存在的問(wèn)題和產(chǎn)生困境的原因。第五部分從構(gòu)建立體化傳播網(wǎng)絡(luò)、提高傳播者媒介素養(yǎng)和受眾培養(yǎng)三個(gè)方面探尋戲曲傳播路徑。
[Abstract]:Opera is an important part of Chinese culture, carrying the emotional identity and aesthetic concept of Chinese children.It has survived and developed in communication. It has gone through the stages of oral communication, printing communication, electronic communication and so on. It has made great changes in the performing forms, types of creation and aesthetic concepts of the audience, especially in broadcasting.TV and other electronic media and opera fusion make opera into thousands of families, into the lives of the people.However, in recent years, with the rapid change of electronic media technology, the network media represented by the website has been "inseparable" with people, its real-time, interactivity, autonomy,The characteristics of sharing have revolutionized modern communication.At the same time, with the change and development of society, people's life and entertainment style also turn, the pace of life is quickened, the material life is satisfied, people's consumption concept and entertainment choice have also taken place the fundamental change.As a result, the younger generation of viewers defected, leaving only the sparse applause of the old opera fans and the entertainment of the opera workers.These factors make the dissemination and development space of the opera art under unprecedented pressure and challenge. Therefore, how to deal with the impact and challenge brought by the information revolution and get a new life is the key problem to be solved urgently.This paper consists of five parts: the first part discusses the origin of the research from the survival status and policy background of opera, and summarizes the current research situation of drama communication in academic circles, and expounds the theoretical support of this article-media morphology theory and research methods.The significance and core problems of this paper are put forward.The second part combs the media vicissitude course of drama communication in the electronic age from four aspects of broadcasting, film, television and internet, and shows the fusion of electronic media and opera.The third part takes the TV program Li Yuan Spring as an example to analyze the influence of electronic media on the dissemination of opera.The fourth part uses the observation method and the questionnaire to analyze the existing problems and the reasons of the predicament.The fifth part explores the communication path of opera from three aspects: constructing three-dimensional communication network, improving the media literacy of communicators and cultivating audiences.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J892;G206

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本文編號(hào)：1772297