短视频传播中华文化的影像话语创新——从“李子柒现象”的讨论说起  

Image Discourse Innovation of Short Video Spreading Chinese Culture——Speaking from the Discussion of“Li Ziqi Phenomenon”

作　　者：杜志红 Du Zhihong

机构地区：[1]苏州大学传媒学院,江苏苏州215123 [2]苏州大学广电系

出　　处：《中原文化研究》2020年第3期27-32,共6页The Central Plains Culture Research

基　　金：教育部人文社会科学研究规划基金项目“新媒介影像传播与文化创新研究”(16YJA860004);江苏省高校哲学社会科学研究重点项目“媒介变革中的影像话语流变研究”(2017ZDIXM139)阶段性成果。

摘　　要：李子柒在短视频传播领域的成功,归根结底是其影像话语创新的结果。影像话语是一种影像作品的生产理念和组织方式,李子柒短视频的影像话语特征主要表现为三方面:侧脸镜头建构“她我关系”和电影模式;叙事蒙太奇的连续动作组接;叙境的同期音效和对非叙境元素的克制,这些特征决定了李子柒短视频的影像话语是电影式的而非电视式的。运用短视频传播中华文化,不应仅关注文献性的、遗俗性的文化,或者群体性的民族国家叙事,还应该更好地展现当代中国人个体化的、鲜活灵动的、生生不息的、有品质的日常生活实践;也不应仅局限于文字语言组织的自我阐释或自我表白,还可以有安静而不事张扬的自我呈现,以不断探索创新讲好中国故事的方式。Li Ziqi’s success in the field of short video communication is ultimately the result of herimage discourse innovation.Image discourse is a production concept and organization method of video works.The discourse characteristics of Li Ziqi’s short video are mainly expressed in three aspects:the side-face lens constructs“her/me relationship”and movie mode;the continuous action combination of the narrative montage;the diegetic sound and the restraint of the non-diagetic elements.These characteristics determine that the image discourse of Li Ziqi’s short video is film-like rather than TV-like.The use of short video to spread Chinese culture should not only focus on documentary,traditional culture,or group national-state narrative,but also better demonstrate the individualized,lively,everlasting and quality daily life practices of contemporary Chinese people.It should not only be limited to the self-interpretation or self-confession of the text language-organizing,but also the quiet and introverted self-presentation,in order to constantly explore and innovate the way to tell a good Chinese story.

关 键 词：短视频 文化传播 影像话语 中国故事 

分 类 号：G122[文化科学]