后现代语境中的微电影初探

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1、重庆大学硕士学位论文目录目录中文摘要········································································································I英文摘要·······································································································II1绪论··································

2、······································································11.1研究意义····································································································11.2文献综述···················································································

3、·················12微电影的发展脉络····················································································32.1界定微电影·································································································32.2微电影的发展脉络········································

4、················································32.2.1美国实验电影的出现···············································································42.2.2短片创作的兴盛期··················································································52.2.3微电影的现阶段··················

5、···································································53后现代语境中微电影的特征·································································103.1后现代精神及后现代中的微电影概述······························································103.2后现代语境中微电影的美学特征·····················

6、···············································103.2.1“微”美学··························································································113.2.2“反”美学··························································································123.2.3“深与思”的美学···

7、··············································································133.3后现代语境中微电影的叙事特征····································································143.3.1主题上：抵制宏大叙事，多元化取代整体性···············································143.3.2表现手法上：零散化、碎片化与游戏化·······

8、··············································163.3.3创作上：注重个性化的影像表达和自我关切·············································