摘要
自全媒体出版滥觞以降,其实践模式日趋成熟,文本形态构成也悄然改变,由早期依靠影视作品热度运作并借势改编为小说的单一形态发展为多种文本共生共存的局面,同时开始构建作者、读者、出版商等多方主体共创的文本场域,传统的单向文本演化成一种互文文本。不仅进一步扩大了传统以抽象的文字符号为代表的纸质媒介文本的重构、再生与繁荣,而且极大地拓展了新的文本形态与表现路径。在这一过程中,文本在融合中通过"重复"生产机制凸显差异,获得了"挽救"与"再生",全媒体出版也由此出现了多元发展态势。
Since the appearance of the All-media publication,the Practical Forms becomes more and more mature,and the text form has also changed gradually.The form of character,which relies on the operation of popular film and television works and adapted as a novel,has developed into a coexistence situation of original genre and best-selling book and so on.And at the same time,the author,the reader,and the publication are set up to create a text field together.Traditional single-way text evolves to an intertextual text.It not only further expanded the reconstruction,regeneration and prosperity of the traditional paper media,which represented by abstract characters,but also greatly expanded the new form of text and the way of expression.In this process,text highlights the differences between texts in the integration through the"duplication"of production mechanism,to get"save"and"regeneration",from which omnimedia publishing gets a diversified opportunities for developing.
作者
黄勇军
龚力
Huang Yongjun;Gong Li
出处
《新媒体与社会》
2020年第1期227-238,共12页
New Media and Society
关键词
全媒体出版
差异与重复
出版文本
影视小说
Omnimedia Publishing
Differences and Duplication
Publishing Texts
Film-teleplay Novels