微电影的特殊美学  

Special Aesthetics Reflected in Micro-Film

作　　者：李简瑷[1] 

机构地区：[1]西南交通大学艺术与传播学院,四川成都6100031

出　　处：《西南交通大学学报（社会科学版）》2014年第2期47-51,共5页Journal of Southwest Jiaotong University(Social Sciences)

基　　金：教育部人文社科基金青年项目(11YJC760036);中央高校基本科研业务费专项资金科技创新项目(2682013CX083)

摘　　要：在后现代文化背景下具有微时长、微周期、微投入、微传播特征的微电影,是以解构和碎片化为乐的互联网与电影互动所衍生出来的一种新的电影探索,并以其显而易见的优势逐渐成为时下新的文化潮流。微电影独特的影像制作模式、创作准则、影像修辞手法、传播媒介、观影方式、受众群体等改写了传统的"电影"概念,对电影语言的创新、电影艺术的发展以及电影美学观念的改变都产生了重大影响。微电影还以其"微言大义"切入当下社会的"微现实",关注被主流叙事所放逐、被宏大历史所忽视或过滤的问题,成为一种作者式影像的民间书写。In the postmodern cultural background, micro-film with characteristics of micro-length, micro-cycle, micro-investment and micro-communication is a new movie exploration stemming from the interaction of film and the internet characterized by deconstruction and fragmentation. Nowadays it is becoming a new cultural trend because of its obvious advantages. Micro-film with the unique standards of creation, production model, rhetoric of images, media, viewing mode and audiences, etc changed the traditional ＂movie＂ concept and had a significant impact on film language innovation, development of film and the change of film aesthetics. Micro-film can also scan contemporary social ＂micro-reality＂ and focus on the issues ignored or filtered by mainstream narration and grand history. Thus, it becomes a folk-style writing of authors＇ images.

关 键 词：微电影 新媒介 微观叙事 碎片化 媒介语境 

分 类 号：J901[艺术—电影电视艺术]