【摘要】：近年來，中國紀錄片出現(xiàn)了春天到來的跡象，這里的春天所指的不只是紀錄片的創(chuàng)作，更多的是指紀錄片的傳播。伴隨著微博、微信等新型社交媒體的出現(xiàn)，紀錄片的“微傳播”得以被關注和利用，這種傳播拓寬了紀錄片這類小眾作品的傳播渠道，同時也形成了新的傳播方式，當下的“微傳播”主要是指依靠微博、微信平臺的信息傳播，當然不排除以后會出現(xiàn)更多更新的“微傳播”方式。本文著眼于在國內一直少人關注的紀錄片傳播領域，探索新型傳播模式給紀錄片傳播帶來的機遇和挑戰(zhàn)。本文認為，，比起傳統(tǒng)的院線、電視、視頻網(wǎng)站傳播方式，“微傳播”的連接和推送兩個特性將紀錄片的傳播帶入一個新的階段，可以實現(xiàn)紀錄片資訊信息更加精確和有效的傳播，也為紀錄片如何走入普通大眾提供了可能性，這個改變對紀錄片傳播的影響是巨大的，包括傳者、受者、內容、渠道、效果在內的幾個重要傳播環(huán)節(jié)都發(fā)生了相應的變化。但文中關于“微傳播”現(xiàn)實的呈現(xiàn)，也說明了國內紀錄片產(chǎn)業(yè)在“微傳播”理念應用和“微營銷”實踐方面的缺乏，同時也提醒大家，促進紀錄片產(chǎn)業(yè)的發(fā)展，創(chuàng)作和傳播，不可偏廢其一。
[Abstract]:In recent years, Chinese documentaries have shown signs of spring, which refers not only to the creation of documentaries, but also to the dissemination of documentaries. With the emergence of new social media such as Weibo and WeChat, the "micro-communication" of documentary films has been paid close attention to and utilized. This kind of communication has widened the channels of dissemination of such minority works as documentaries, and at the same time has formed a new mode of communication. The current "microcommunication" mainly refers to the information dissemination based on Weibo and WeChat platform. Of course, there will be more updated "microcommunication" in the future. This paper focuses on the field of documentary communication, which has been paid less attention in China, and explores the opportunities and challenges that the new mode of communication brings to documentary communication. In this paper, compared with the traditional media, TV and video websites, the connection and push of "microcommunication" bring the documentary to a new stage. It can achieve more accurate and effective dissemination of documentary information, and it also provides the possibility for documentaries to enter the general public. The impact of this change on documentary dissemination is enormous, including disseminators, recipients, content, and channels. The effects of several important communication links have undergone corresponding changes. However, the presentation of the reality of "microcommunication" in this paper also illustrates the lack of the domestic documentary industry in the application of the concept of "micro-communication" and the practice of "micro-marketing". At the same time, it also reminds us to promote the development, creation and dissemination of the documentary industry. One must not be biased.
【學位授予單位】：暨南大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J952

【參考文獻】

相關期刊論文 前10條

1 薛芙蓉;;“微”傳播“巨”影響——網(wǎng)絡微傳播特點及效果淺析[J];今傳媒;2012年01期

2 梁樹新;;微傳播微營銷:濕度越大越出色[J];中國傳媒科技;2010年01期

3 葛進平;鄒立清;;電影微博立體營銷策略探討[J];當代電影;2012年02期

4 范玉明;;電影微博營銷方式研究[J];東南傳播;2012年06期

5 黨昊祺;;從傳播學角度解構微信的信息傳播模式[J];東南傳播;2012年07期

6 汪平;;微博傳播力初探[J];今傳媒;2011年09期

7 王春枝;;微紀錄片:新媒體語境下紀錄片的新樣態(tài)[J];電視研究;2013年10期

8 胡朝凱;;網(wǎng)絡傳播時代下的“微傳播”——微博傳播的特性與現(xiàn)狀[J];大眾文藝;2014年01期

9 譚天;楊俊君;;而今邁步從頭越——關于紀錄片院線發(fā)行的思考[J];中國電視(紀錄);2010年07期

10 張曉楓;;微傳播 大營銷[J];成功營銷;2010年11期

本文編號：2365408