新世纪华语“文艺片”的生存空间及商业路径分析

发布时间：2018-04-20 14:47

本文选题：华语“文艺片” + 生态建构　；参考：《南京师范大学》2017年硕士论文

【摘要】：自电影诞生以来,“文艺片”以独特的艺术性和深刻的思想性成为促性电影语言进步革新的片型之一,在世界电影史中有着重要的地位。而由于特殊的历史环境和政策体制,“文艺片”在我国并没有发展成为电影类型之一,学界也缺少对“文艺片”明确清晰的定义,但这些因素并未影响大众对于“文艺片”的熟悉。纵览中国电影史,“文艺片”作为一种现象在我国的发展呈现出杂糅渐变的轨迹。自20世纪90年代以独立电影的面貌出现,经历了地下电影、作者电影等阶段,在新世纪之后,随电影产业化进程的前进,逐渐与市场结合,发展为当下的大众“文艺片”形态。但在这一过程中,华语“文艺片”的生存空间始终没有得到质的扩展,新世纪前十年在国产商业大片的挤压下基本处于“失语”状态,2010年之后随着互联网的兴起有了相对较大的发展空间,其题材、情节、拍摄手法的主流化逐渐引起了观众的注意,融合商业元素的制作宣发更使一部分“文艺片”票房获得了空前的成功,华语“文艺片”貌似迎来了春天。但从整体而言,大多数“文艺片”依然处于无法收回成本的市场窘境中,其生存情况不容乐观。本文通过梳理华语“文艺片”的发展变化过程,对“文艺片”现象进行界定分析,根据新世纪以来华语“文艺片”的制作、宣发、放映情况,结合当下电影市场大环境,为其生存发展和商业路径提出建议。全文除绪论和结语外,共分为四章。绪论部分简要叙述了本课题的研究背景、现状、思路、方法和意义,从总体上明确了本文对象及研究思路。第一章通过归纳整理学界、大众、业界三方对于“文艺片”的看法及定义,在此基础上对本文所要研究的“文艺片”现象进行阐述界定并列出研究对象;进而总结出其在历史流变中形成的审美类型,为本文所研究的华语“文艺片”定下基调。第二章从华语电影整体着眼,由新世纪华语电影的发展概况,逐步深入至华语“文艺片”萌芽、发展、变化的过程,分析华语“文艺片”在这一大环境下的发展轨迹。在此基础上,从政治、商业、消费心理三个角度分析影响“文艺片”发展的外部因素,勾勒出素,纪以来华语“文艺片” 的面貌。第三章通过调查收集新世纪以来华语“文艺片”的创作和市场情况,逐层论述“文艺片”选题内容的思想诉求和深度缺失,制作形式的艺术呈现与商业妥协,宣传发行环节的局限粗放和院线放映的惟利不成熟是当下其在市场环境下面临的问题。进而从完善产业格局、培养审美趣味、扶持青年导演三方面阐释“文艺片”的生态建构情况,明确“文艺片”在电影市场中的重要作用。通过与商业电影横向的比较和与自身纵向的比较,剖析华语“文艺片”身处困境的原因。第四章在上一章探究归纳“文艺片”发展面临问题的基础上,结合实例分析,有针对性地从主观创作、受众考量、推介终端、政策制度四个角度入手,首先通过对影片内容、节奏、演员元素的把控,在创作层面有所改善;其次对市场进行细分,结合影片特点和观众审美对影片精准定位;再次,在宣发环节,挖掘片中的商业元素进行线上传播,针对目标观众组织线下活动,线上线下相结合达到最大的宣传效果。并根据影片自身特点和同时段影片的上映情况选定合适档期,在最后一环的院线放映加强宣传,争取最大数量的受众。最后,升至制度层面,从国家政策、专项资金和建立艺术院线三方面对扩大华语“文艺片”的生存空间及商业路径提出对策建议。
[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".

【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J943

【参考文献】