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2016年暑期档票房冠军《盗墓笔记》的出现标志着电影产业3.0格局下“新概念IP大片”的又一突破,互联网IP概念运作下的“新概念大片”呈现出供需两侧更长周期的双向多维度的强大动态互动性,也为供给侧提供了更宽阔的艺术表现空间,为创作者带来超越影片本身时空封装量的“背景—文本”互文性创作可能。同时,文化群体分层消费概念和青年亚文化背景也为此类影片提供了具有鲜明特色的读解条件和方式。本片中的泛艺术化尝试主要体现在文本层面的“影游联动”和中西文化元素简化融合中的结构性的隐喻上。
The emergence of “Tomb Notes” in the 2016 box office champion marks another breakthrough in the “new concept IP blockbuster” under the 3.0 format of the movie industry. The “new concept blockbusters” operating under the concept of Internet IP show the demand side Longer cycle of the two-way multi-dimensional dynamic interaction, but also for the supply side to provide a broader space for artistic performance, to bring the creator beyond the time-space packaging of the film itself “background-text ” intertextual creation may . At the same time, the concept of stratified consumption of culture groups and the youth subculture background also provide distinctive reading conditions and methods for such films. Pan-art attempts in this film are mainly embodied in the structural metaphors of simplifying the integration of Chinese and Western elements in the context of textual translation.