非遗微纪录片的受众感知与传播研究——基于《海派百工》在B站的评论内容分析  

Audience's Perception and Dissemination of Micro-documentaries of Intangible Cultural Heritage—Based on the Content of Comments on Shanghai Style Craft in Bilibili

作　　者：江美莲[1] 李练军[2] JIANG Meilian;LI Lianjun(Nanchang Business College of Jiangxi Agricultural University,Gongqingcheng 332020,China;Jiangxi Agricultural University,Nanchang 330013,China)

机构地区：[1]江西农业大学南昌商学院,江西共青城332020 [2]江西农业大学,江西南昌330013

出　　处：《通化师范学院学报》2024年第7期33-38,共6页Journal of Tonghua Normal University

基　　金：江西省高校人文社会科学研究项目“数字技术驱动下江西省非物质文化遗产的国际传播策略研究”(JC23234);江西省社会科学“十三五”(2020年)基金项目“‘一带一路’背景下江西省非物质文化遗产的跨文化传播路径研究”(20XW13)。

摘　　要：受众对于非遗微纪录片的感知强度排序依次是非遗技艺、非遗印象、非遗空间、非遗价值和非遗人物;受众通过观看微纪录片对非遗技艺、价值和人物精神产生高度的认同,也由此引发了受众对非遗技艺现状和发展的思考;受众对非遗微纪录片的情感倾向以积极情感和中性情感为主,而且表现出较强的情感体验和感官沉浸。The audience's perception intensity of the micro-documentary of intangible cultural heritage is ranked as follows:intangible heritage skills,intangible heritage impression,intangible heritage space,intangible heritage value,and intangible heritage figures.The audience has developed a high degree of identification with the skills,value,and spirit of the people involved in intangible heritage through watching the micro-documentary,which also triggers the audience's reflection on the current status and development of intangible heritage skills.The emotional inclination of the audience towards the intangible cultural heritage micro-documentary is mainly positive and neutral emotions,showing strong emotional experience and sensory immersion.

关 键 词：非遗传播 微纪录片 受众感知 内容分析 

分 类 号：G122[文化科学] G206