中国大陆微电影生存状态与发展策略研究
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摘要
微电影(英语：micro cinema,在其名词发源地中国通常称之为Micro film)为短片分类之下的另一分支,华语地区对于微电影之时间长度的定义有所不同。但在中国,通常是指专门运用在各种新媒体平台(如YouTube、土豆等视频网站),适合在移动状态或是短时间休憩状态下所观看,有完整故事情节的短片。其时间长度通常低于300秒,可以单独成篇,但也有成系列的微电影。现今,每年有连续三天会在分属全球十几个不同国家的50多个城市同时举办“国际非常短片节”(Very Short International Film Festival),参展作品的限制为不超过三分钟的短片为限。内容型态包含：公益推广、形象宣传、商业订制、个人创意等等,因其模式是在网络上以超短时(30～300秒)且有完整剧情的影片呈现,对民众来说是受欢迎且具有吸引力,因此近年来微电影以各种形式被社会各界广泛地使用中。
“微电影”是属于WEB3.0阶段的产物,它的产生和发展进一步向我们宣布“草根媒体”时代的到来,甚至形成了“人人看电影”到“人人做电影”的转换。加上其对移动网络设备的积极运用,不断在受众中扩大着自身的影响力,近年来引起了受众和业界的广泛关注。
为了研究微电影的生存现状以及发展策略,本文运用文本分析、文化学研究、生态学研究,对当下微电影市场的现状及发展策略进行深入探讨,针对微电影传播方式,生存状态,以及与传统文化相结合发展策略几方面进行了分析。
首先,本文分析了微电影产生的原因,并分析形成后衍生出的几个主要类型,以及在创作方面,微电影的特殊形式对其内容的必然影响。总述了微电影的产生与使用满足理论之间的必然联系。
第二,本文对当下中国微电影的生存状态做了一个分析,其中包括微电影的发展轨迹综述,微电影的各种形式,并深入分析了营销型微电影的发展态势并提出了中国微电影的发展困境。
第三,本文从现行的微电影市场急待解决的问题和根植于传统文化的营销策略等方面入手,分析了微电影市场的未来走向。提出微电影营销的重要性,并针对如今微电影市场作品水品良莠不齐,微电影市场缺乏监管、从业人员水平有待提高等方面提出问题,阐释了笔者认为可行的解决办法针对微电影的可持续发展方面,提出要走有自己文化特色的路,树立自主品牌的意识,精心打造品牌形象,并从传统文化中吸取养分,采纳传统文化中的优秀基因,进行传承,塑造品牌内涵。
最后对本文进行了总结。
The Micro-film (also called micro cinema, the birthplace of Chinese nouns are usually referred to as Micro film) is a branch of video classification, the Chinese-speaking regions for the definition of time micro film length is different. But in China, usually refers to the special application in various new media platforms (such as YouTube, video website such as Tudou), suitable for mobile or watching a short time rest state, a complete story short. The length of time is usually less than300seconds, can be a separate article, but also a micro film series. Now, every year for three consecutive days will be held at the same time "in the global more than a dozen different countries belonging to the city of more than50international very short film festival" exhibition of works is limited to not more than three minutes of video is limited. Content types include:public promotion, publicity, business custom, personal creativity and so on, because of its pattern is on the network in order to very short time (30-300seconds) and complete the story of the film, of the people is popular and attractive, so in recent years micro film in various forms by social all circles widely used m.
"Micro film" is the product belongs to the WEB3.0stage, the formation and the development of further announced to us "grassroots media" era, conversion and even formed a "everyone watching movies" to "everyone doing movies". Coupled with its mobile network equipment to actively use, expanding its influence in the public, in recent years has attracted wide attention of audience and the industry.
For the future development strategy puts forward micro film on micro film's survival and development as well as the method of literature research, comparison, research method, survey research method used in this paper, in-depth study of the current situation and development strategy of micro film market, the micro movie dissemination way, living condition, and the combination with traditional culture on development strategy are analyzed.
Firstly, this paper analyzes the causes of micro film production, and analysis several main types formed after derived, as well as in the creation of a special form, micro film will inevitably influence on its content. Overview of micro film and meet the necessary connection between theories.
Secondly, the survival of the state of the contemporary Chinese micro film made a analysis of development path, including micro film, various forms of micro film, and in-depth analysis of the development trend of marketing type micro film and put forward the development dilemma of Chinese micro film.
Thirdly, this paper analyzed the micro-film market from the existing problems and rooted in the traditional culture of the marketing strategy of the future trend. The importance of micro film marketing, and now, micro film market works quality uneven, some good and some bad, lack of supervision, micro film market level employees to be improved and other aspects of the problem, the author thinks that the sustainable development of our interpretation of the possible solutions to the film surface, puts forward to want to go with their own cultural characteristics of the road, the establishment of independent brand consciousness, carefully build brand image, and absorb the nutrient from the traditional culture, the adoption of good genes, the traditional culture of the society, to shape the brand connotation.
“微电影”是属于WEB3.0阶段的产物,它的产生和发展进一步向我们宣布“草根媒体”时代的到来,甚至形成了“人人看电影”到“人人做电影”的转换。加上其对移动网络设备的积极运用,不断在受众中扩大着自身的影响力,近年来引起了受众和业界的广泛关注。
为了研究微电影的生存现状以及发展策略,本文运用文本分析、文化学研究、生态学研究,对当下微电影市场的现状及发展策略进行深入探讨,针对微电影传播方式,生存状态,以及与传统文化相结合发展策略几方面进行了分析。
首先,本文分析了微电影产生的原因,并分析形成后衍生出的几个主要类型,以及在创作方面,微电影的特殊形式对其内容的必然影响。总述了微电影的产生与使用满足理论之间的必然联系。
第二,本文对当下中国微电影的生存状态做了一个分析,其中包括微电影的发展轨迹综述,微电影的各种形式,并深入分析了营销型微电影的发展态势并提出了中国微电影的发展困境。
第三,本文从现行的微电影市场急待解决的问题和根植于传统文化的营销策略等方面入手,分析了微电影市场的未来走向。提出微电影营销的重要性,并针对如今微电影市场作品水品良莠不齐,微电影市场缺乏监管、从业人员水平有待提高等方面提出问题,阐释了笔者认为可行的解决办法针对微电影的可持续发展方面,提出要走有自己文化特色的路,树立自主品牌的意识,精心打造品牌形象,并从传统文化中吸取养分,采纳传统文化中的优秀基因,进行传承,塑造品牌内涵。
最后对本文进行了总结。
The Micro-film (also called micro cinema, the birthplace of Chinese nouns are usually referred to as Micro film) is a branch of video classification, the Chinese-speaking regions for the definition of time micro film length is different. But in China, usually refers to the special application in various new media platforms (such as YouTube, video website such as Tudou), suitable for mobile or watching a short time rest state, a complete story short. The length of time is usually less than300seconds, can be a separate article, but also a micro film series. Now, every year for three consecutive days will be held at the same time "in the global more than a dozen different countries belonging to the city of more than50international very short film festival" exhibition of works is limited to not more than three minutes of video is limited. Content types include:public promotion, publicity, business custom, personal creativity and so on, because of its pattern is on the network in order to very short time (30-300seconds) and complete the story of the film, of the people is popular and attractive, so in recent years micro film in various forms by social all circles widely used m.
"Micro film" is the product belongs to the WEB3.0stage, the formation and the development of further announced to us "grassroots media" era, conversion and even formed a "everyone watching movies" to "everyone doing movies". Coupled with its mobile network equipment to actively use, expanding its influence in the public, in recent years has attracted wide attention of audience and the industry.
For the future development strategy puts forward micro film on micro film's survival and development as well as the method of literature research, comparison, research method, survey research method used in this paper, in-depth study of the current situation and development strategy of micro film market, the micro movie dissemination way, living condition, and the combination with traditional culture on development strategy are analyzed.
Firstly, this paper analyzes the causes of micro film production, and analysis several main types formed after derived, as well as in the creation of a special form, micro film will inevitably influence on its content. Overview of micro film and meet the necessary connection between theories.
Secondly, the survival of the state of the contemporary Chinese micro film made a analysis of development path, including micro film, various forms of micro film, and in-depth analysis of the development trend of marketing type micro film and put forward the development dilemma of Chinese micro film.
Thirdly, this paper analyzed the micro-film market from the existing problems and rooted in the traditional culture of the marketing strategy of the future trend. The importance of micro film marketing, and now, micro film market works quality uneven, some good and some bad, lack of supervision, micro film market level employees to be improved and other aspects of the problem, the author thinks that the sustainable development of our interpretation of the possible solutions to the film surface, puts forward to want to go with their own cultural characteristics of the road, the establishment of independent brand consciousness, carefully build brand image, and absorb the nutrient from the traditional culture, the adoption of good genes, the traditional culture of the society, to shape the brand connotation.
引文
② 聂伟：《微电影：演变、机遇和挑战》[J],上海大学学报(社会科学版),2012年7月,第31—38页。
④ 孙宜君、陈家洋.影视艺术概论[M].国防工业出版社.2012 P.43
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[2]安德烈.戈德罗(加)、弗朗索瓦.若斯特(法).什么是电影叙事学[M].刘云舟译.商务印书馆.2010
[3]丹.格斯基(美).微电影创作：从构思到制作[M].刘思译.文汇出版社.2012
[4]古斯塔夫.庞勒(法).乌合之众大众心理研究[M].戴光年译.新世界出版社.2010
[5]黎萌.分析传统下的电影研究叙事、虚构与认知[M].中国传媒大学出版社.2009
[6]梁明李力.电影色彩学[M].北京大学出版社.2008
[7]H.丹纳(法).艺术哲学[M].张伟译.北京出版社.2004
[8]孙宜君、陈家洋.影视艺术概论[M].国防工业出版社.2012
[9]秦艳华、路英勇.全媒体时代的手机媒介研究[M].北京大学出版社.2013
[10]尹鸿、曹书乐.影视传播研究前沿[M].清华大学出版社.2012
[11]李艺、杨溢.传播：故事与思维[M].中国暨南大学出版社.2012
[12]桥元良明(日).媒体与日本人：日常生活的演变[M].南京大学出版社.2013
[13]弗兰克.施尔玛赫(德).网络至死——如何在喧嚣的互联网时代重获我们的创造力和思维力[M].邱袁伟译.龙门书局出版社.2011
[14]张凤阳.现代性的谱系[M].凤凰出版传媒集团.2012
[15]李朝阳.从电影叶问看国产电影的传统文化开发策略[J].电影评介,2009,(21)
[16]吉登斯(Anthony Giddens).失控的世界[M].江西大学出版社.2001
[17]李欣.无处依托的百花——论电影短片《十分钟年华老去》之《百花深处》的视听手法及文化内涵[J].电影评介,2012,(08)
[18]罗伯特·考克尔(美).电影的形式与文化[M].郭青春译.北京大学出版社2004
[19]陈红莲.网络”微电影”的传播学解读——以《老男孩》《四夜奇谭》等的热播为例[J].今传媒,2011,(12)
[20]张波.论微电影在当下中国的生产及消费态势[J].现代传播,2012,(03)
[21]王君.浅析”微时代”环境下的电影广告——微电影广告浅析[J].中国电影市场,2012,(03)
[22]黄宁.公交移动电视广告传播之优劣考[J].广告大观,2005,(04)
[23]张国良主编.20世纪传播学经典文本[M].复旦大学出版社,2003
[24]袁靖华.论公交数字移动电视的传播特性与传播策略[J].中国广播电视学刊,2005,(09)
[25]喻国明.影响力经济——对传媒产业本质的一种诠释[J].现代传播,2003,(01)
④ 孙宜君、陈家洋.影视艺术概论[M].国防工业出版社.2012 P.43
[1]宋家玲、宋素丽.影视艺术心理学[M].中国传媒大学出版社(原北京广播学院出版社).2010
[2]安德烈.戈德罗(加)、弗朗索瓦.若斯特(法).什么是电影叙事学[M].刘云舟译.商务印书馆.2010
[3]丹.格斯基(美).微电影创作：从构思到制作[M].刘思译.文汇出版社.2012
[4]古斯塔夫.庞勒(法).乌合之众大众心理研究[M].戴光年译.新世界出版社.2010
[5]黎萌.分析传统下的电影研究叙事、虚构与认知[M].中国传媒大学出版社.2009
[6]梁明李力.电影色彩学[M].北京大学出版社.2008
[7]H.丹纳(法).艺术哲学[M].张伟译.北京出版社.2004
[8]孙宜君、陈家洋.影视艺术概论[M].国防工业出版社.2012
[9]秦艳华、路英勇.全媒体时代的手机媒介研究[M].北京大学出版社.2013
[10]尹鸿、曹书乐.影视传播研究前沿[M].清华大学出版社.2012
[11]李艺、杨溢.传播：故事与思维[M].中国暨南大学出版社.2012
[12]桥元良明(日).媒体与日本人：日常生活的演变[M].南京大学出版社.2013
[13]弗兰克.施尔玛赫(德).网络至死——如何在喧嚣的互联网时代重获我们的创造力和思维力[M].邱袁伟译.龙门书局出版社.2011
[14]张凤阳.现代性的谱系[M].凤凰出版传媒集团.2012
[15]李朝阳.从电影叶问看国产电影的传统文化开发策略[J].电影评介,2009,(21)
[16]吉登斯(Anthony Giddens).失控的世界[M].江西大学出版社.2001
[17]李欣.无处依托的百花——论电影短片《十分钟年华老去》之《百花深处》的视听手法及文化内涵[J].电影评介,2012,(08)
[18]罗伯特·考克尔(美).电影的形式与文化[M].郭青春译.北京大学出版社2004
[19]陈红莲.网络”微电影”的传播学解读——以《老男孩》《四夜奇谭》等的热播为例[J].今传媒,2011,(12)
[20]张波.论微电影在当下中国的生产及消费态势[J].现代传播,2012,(03)
[21]王君.浅析”微时代”环境下的电影广告——微电影广告浅析[J].中国电影市场,2012,(03)
[22]黄宁.公交移动电视广告传播之优劣考[J].广告大观,2005,(04)
[23]张国良主编.20世纪传播学经典文本[M].复旦大学出版社,2003
[24]袁靖华.论公交数字移动电视的传播特性与传播策略[J].中国广播电视学刊,2005,(09)
[25]喻国明.影响力经济——对传媒产业本质的一种诠释[J].现代传播,2003,(01)
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