兰州大学机构库 >文学院
城市宣传片的三重属性及其实现——以敦煌文博会宣传片变更事件为例
Alternative TitleTernary Properties of City Promotional Films and Their Implementation – Taking Changes in Promotional Films for Dunhuang International Cultural Expo as An Example
王晓奕
Thesis Advisor陈响园
2017-04-05
Degree Grantor兰州大学
Place of Conferral兰州
Degree Name硕士
Keyword城市宣传片 审美文化 审美距离 人文价值
Abstract

1994年,由威海市旅游局主持拍摄的城市宣传片《中国威海》登陆央视,中国第一部城市宣传片由此诞生,开城市宣传片之先河,引起了广泛关注和其它城市的纷纷效仿。城市宣传片以影像的方式,借助现代传媒的手段,通过展示城市的风格面貌、文化底蕴、精神气质,增进人们对城市的了解,增强人们对城市的认同感,是传播城市形象,塑造城市品牌的重要途径。在一定的情境下,城市宣传片还承担着国家形象建构的功能。

城市宣传片作为影视文化产品具多义性,有商业价值、审美价值和官方意识形态传播的多种属性,大众的广泛接受是其价值实现的基础。因此,基于当下的消费文化语境,认清当下流行的审美观念,才能创作出符合观众审美要求的作品。其次,城市宣传片以影像为载体,首先是一种影视艺术,视听语言和艺术表现手法的运用,不仅体现出创作者的艺术水准,也是城市宣传片作为一种影视艺术的根基所在。创作者应该具有艺术的情怀和水准,以无限的热情投入到艺术创作当中,从中国传统艺术中吸取营养,运用恰当的艺术手法,营造审美距离,给观众以想象和联想的空间,引发观众主动的审美参与,化“物像”为“意象”。再次,枯燥单调的口号和说教难以吸引观众,单纯的城市风光展示,虽然能给观众带来视听享受,但不足以引发观众精神上的共鸣和认同。城市宣传片应该通过其承载和传达的人文精神体现价值观念,引发观众情感上的共鸣,使观众在形而上的体悟与思考中完成对城市文化的理解,实现对城市精神的认同,使城市形象深入人心。

本文通过敦煌文博会新旧两部城市宣传片的比较研究,结合近年来其它具有代表性的城市宣传片,选取相关例证,联系自身实践经验,站在客观的立场,探讨城市宣传片创作的理论方法。

Other Abstract

In 1994, the city promotional film taken by Weihai Municipal Tourism Bureau was reported by CCTV, which symbolized the birth of city promotional films in China, caused extensive concern and inspired other cities to follow suit. By virtue of modern media, city promotional films display styles, features, cultural deposits and spirits of cities in the form of videos, thereby improving people’s understanding and strengthening their recognition of cities. City promotional films are important means to spread city images and build city brands. In certain situations, they even play a role in constructing national images.

As film and television products, city promotional films have commercial value, aesthetic value and various attributes of official ideology transmission. What’s more, the values are realized on the basis of widespread public acceptance. To create works that satisfy the public’s aesthetic needs under the current context of consumer culture, it is important to identify popular aesthetic concepts. Secondly, city promotional films, which are carried by videos, belong to film and television art. The application of audio-visual languages and artistic techniques not only reflects artistic standards of the creators, but also serves as the foundation for such film and television art. The creators should have strong artistic feelings and high artistic standards and plunge into artistic creation with enthusiasm. They should draw essence from traditional Chinese arts and utilize proper artistic techniques to create aesthetic distances and leave imaginary space, thereby turning physical images into metal imageries and attracting the audience to take an active part in aesthetic appreciation. Thirdly, it is difficult for boring and monotonous slogans to interest the public. Although the simple display of cityscapes brings audio-visual enjoyment to the audience, it fails to arouse spiritual resonance or identification. City promotional films should resonate emotionally with the audience through the humanistic spirits and values conveyed, thereby allowing the audience to understand city cultures and recognize city spirits through experience and reflection. Only in this way will city images be deeply rooted among the people.  

This paper comparatively studies two city promotional films for Dunhuang International Cultural Expo, introduces other representative city promotional films in recent years, selects relevant examples, combines the study with self practice and proceeds from an objective perspective to explore theoretical methods of creating city promotional films.

URL查看原文
Language中文
Document Type学位论文
Identifierhttps://ir.lzu.edu.cn/handle/262010/228740
Collection文学院
Recommended Citation
GB/T 7714
王晓奕. 城市宣传片的三重属性及其实现——以敦煌文博会宣传片变更事件为例[D]. 兰州. 兰州大学,2017.
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