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魅麗。花火原創小說66折起
中國紀錄片發展研究報告2018(英)(簡體書)
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中國紀錄片發展研究報告2018(英)(簡體書)

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《中國紀錄片發展研究報告2018》由北京師範大學紀錄片研究中心、五洲傳播中心和嗶哩嗶哩聯合出品。全書分緒論及2017年紀錄片頻道與欄目、2017年紀錄片作品、2017年新媒體紀錄片、2017年紀錄片產業、2017年中國紀錄電影、2017年中國紀錄片國際傳播和2017年世界紀錄片動態七章,較為全面地總結了2017年中國紀錄片產業樣態,分析了一些經典作品,兼顧中國與世界在本領域的交流。 Study Report of the Development of Chinese Documentary 2018 is coproduced by the Documentary Center of Beijing Normal University, China Intercontinental Communication Center and Bilibili (www.bilibili.com). This book mainly introduces the following parts of Chinese documentary in 2017 — documentary channels and programs, documentary works, new media documentary, documentary industry, Chinese documentary film, and international communication of Chinese documentary. In addition, it talks about the overview of documentaries over the world.

作者簡介

張同道,北京師範大學紀錄片研究中心主任,藝術與傳媒學院教授,中國高教學會影視教育委員會理事長,中國紀錄片發展基金理事長,美國紐約大學、加州大學洛杉磯分校訪問學者。曾任中國金鷹電視節、四川電視節、上海電視節、廣州國際紀錄片節、卡達半島國際紀錄片節等影視節評委。主持全國藝術學、教育部、廣電總局及橫向課題30余項。主要學術著作《媒介春秋:中國電視觀察》《大師影像》《真實的風景》《多元共生的紀錄時空》等;主要作品紀錄電影《小人國》、系列片《成長的秘密》《電影眼看中國》《貝家花園往事》《零零後》等,曾獲卡達半島國際紀錄片節、四川電視節、中美電影節等獎項。從2009年起,主持每年發佈藍皮書《中國紀錄片發展研究報告》。 胡智鋒,北京師範大學藝術與傳媒學院院長、博士生導師,中國傳媒學術領域一位教育部“長江學者”特聘教授,中國高校影視學會(國家一級學會)會長,國務院學位委員會戲劇與影視學科評議組召集人,享受國務院政府特殊津貼,入選中共中央組織部首批“萬人計畫”領軍人才、全國宣傳文化系統“四個一批”人才、“新世紀百千萬人才工程”國家人選、“新中國60年影響中國廣播電視進程的60位元人物”、首屆國家公共文化服務建設專家委員會委員,哈佛大學高級訪問學者。主持國家、省部級等各級各類科研項目40余項,已出版學術專著30餘部,發表學術論文400餘篇。 Zhang Tongdao is the Chief Director of the Documentary Center and professor of Art and Communication School at Beijing Normal University, Chairman of the China Higher Education Association Film and Television Education Committee, President of the China Documentary Development Fund, and a visiting scholar at New York University and the University of California, Los Angeles. He used to serve as a judge for China Golden Eagle TV Art Festival, Sichuan TV Festival, Shanghai TV Festival, Guangzhou International Documentary Film Festival, Qatar Peninsula International Documentary Film Festival and so on. His major academic works include Media Spring and Autumn: Chinese TV Observation, Images of Masters, The Real Scenery, The Multi-symbiotic Recording Time and Space and so on; his main documentary films, which won the prizes of the Qatar Peninsula International Documentary Festival, Sichuan TV Festival, Chinese American Film Festival and other awards, include Little People, the series The Secret of Growth, See China with a Cinematic Eye, Memories in the Garden of Bei Family, Post-00s and so on. From 2009, Zhang began to preside over the annual publication of Study Report of the Development of Chinese Documentary. Hu Zhifeng is the Dean and doctoral supervisor of Art and Communication School at Beijing Normal University, the first Cheung Kong Chair Professor of China Education Ministry in the media academic field, the President of the China University Film and Television Society (national first class society), the appraisal group convener of Drama, Film and Television Discipline of the State Council Academic Degree Committee. He enjoys the State Council Special Allowance. Besides, he has been selected as the leading figure of the first Ten Thousand Talents Program, the Four Batches talent of the national publicity and cultural system, the national level candidate of the New Century Thousands of Talents Project, one of the 60 figures who “contribute to the development of China’s radio and television industry over the 60 years since the establishment of the People’s Republic of China,” member of the first expert committee of the national public cultural service construction, the senior visiting scholar of Harvard University. He has presided over more than 40 scientific research projects of national, provincial and ministerial levels, and has published more than 30 academic monographs and more than 400 academic papers.

目次

Introduction

1. Documentaries

2. The Documentary: Its Situations and Markets

3. The Documentary Industry

4. The New Media Documentary

5. The International Communication of China’s Documentary and China’s Image in the International Documentary

6. Conclusion

Chapter 1 Documentary Channels and Programs in 2017

1.1 The Overall Pattern of Chinese Documentary Channels

1.2 CCTV Documentary Channel

1.3 Shanghai Documentary Channel

1.4 Beijing Documentary Channel

1.5 Hu’nan Golden Eagle Documentary Channel

1.6 Operations Management of Documentary Channels

1.7 The Program Production of Documentary Channels

1.8 Arrangement of Documentary Channels’ Programs

1.9 Communication Effect of Documentary Channels

1.10 Overall Structure of Documentary Columns

1.11 New Trends of Documentary Columns

Chapter 2 Documentary Works in 2017

2.1 Types and Features

2.2 The Dissemination of Documentaries

2.3 Cultural and Aesthetic Characteristics

Chapter 3 New Media Documentary in 2017

3.1 Key Words of Chinese New Media Documentary in 2017

3.2 Current Problems

3.3 Difference from the United States

3.4 Future Outlook

Chapter 4 Documentary Industry in 2017

4.1 Industrial Ecology

4.2 Market Entities

4.3 Development Status Quo and Trend of Documentaries

Chapter 5 Chinese Documentary Film of 2017

5.1 Status Quo and Trend

5.2 Case of the Year: Twenty-Two

Chapter 6 International Communication of Chinese Documentaries in 2017

6.1 Contents and Modes of Expression

6.2 Communication Platforms and Their Effects

6.3 The Trends of International Communication

Chapter 7 Overview of Documentaries over the World in 2017

7.1 Production of Documentaries under Different Systems

7.2 The Era of Online Videos Has Come

7.3 Global Themes

A Brief Summary

Epilogue


書摘/試閱

Ten domestic documentary films have made ¥263 million at box office, with 170 million earned by Twenty-Two, first hundred million–box office–taking documentary throughout China’s film history. It also refreshed the box office record of domestic documentary film. Earth: One Amazing Day, the second-highest grossing documentary this year, took ¥47.78 million at box office and Return to the Wolves was rated third with almost ¥33 million receipts. For the first time, respective box office of three documentary pictures all exceeded ¥30 million within the same year. Other documentaries grossed less than ¥4 million. Thereby they were divided into three levels: high, medium, and low.

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