摘要
2018年流媒体首次超越有线电视订阅量,打破已有的电视/电影生态系统,倒逼传统媒体进行大幅改革,调整并清晰节目定位。2018年,我们看到了两股力量的角力:流媒体财大气粗一掷千金,一手拿奖一手揽用户;传统媒体强强联手,深度整合。一方面为小屏幕创作的纪录片呈现迸发状态,另一方面院线纪录片题材逐渐拓宽。在电视纪录片相对类型化、同质化的今天,这一大一小的两端涌动着多元杂呈和富有生命力的文本。
Last year marked a first-time higher subscription of streaming media than that of cable TVs, indicating a great change taken by traditional media as they repositioned their programmes in a th reate ned TV-film ecosystem. It also marked a contest, in which streaming media, the nouveau riche, celebrated with film awards and new subs, when their counterparts embraced win-win cooperation. Audience therefore enjoyed a boom of documentary produced for mobile screens and more documentary types in theatre chains. The boom, if judged in a highly-classified, homogeneous TV documentary market, foresees an diversified, energetic future.
出处
《电影艺术》
CSSCI
北大核心
2019年第3期112-117,共6页
Film Art
基金
中国纪录片发展研究报告(2019)课题成果
"BBC剧情纪录片启示"课题成果
2013年教育部人文社会科学研究青年基金项目(批准号:13YJC760107)
关键词
奈飞效应
流媒体时代
自然环保纪录片
一战百年纪录片
政治纪录片
Netflix effect
streaming era
natural & environmental documentary
First World War documentary
political documentary
