描述
开 本: 16开纸 张: 轻型纸包 装: 平装-胶订是否套装: 否国际标准书号ISBN: 9787508539911
编辑推荐
《中国纪录片发展研究报告》是中国*部连续发布的纪录片蓝皮书，始于2009年中国纪录片市场转型的关键时刻，力求以学术方式，采集*手资料，在世界总体格局里描绘中国纪录片发展足迹，主要包括频道和栏目、作品、产业、理论与研究、新媒体纪录片、世界纪录片概况及中国纪录片国际传播等部分，具有市场、传播与文化意义。《中国纪录片发展研究报告2018》解析了2017年中国纪录片的基本特征和发展趋势，为海内外纪录片提供参考和借鉴。Study Report of the Development of Chinese Documentary is the first blue paper serialized for Chinese documentary. Its publication started at the critical moment of the transformation of the Chinese documentary market in 2009. It seeks to collect first-hand information in an academic way, in the hope of presenting the developmental course of Chinese documentary through referring to the world documentary. It is largely divided into such parts as channels and columns, works, industry, theory and study, new media documentaries, general situation of world documentary and the international communication of Chinese documentaries. For this reason, it is filled with significance for communication and culture.As the work of the year of the Documentary Center at Beijing Normal University, Study Report of the Development of Chinese Documentary 2018 analyzes the basic characteristics and development trends of Chinese documentaries, in order to provide reference for international documentaries.
内容简介
《中国纪录片发展研究报告2018》由北京师范大学纪录片研究中心、五洲传播中心和哔哩哔哩联合出品。全书分绪论及2017年纪录片频道与栏目、2017年纪录片作品、2017年新媒体纪录片、2017年纪录片产业、2017年中国纪录电影、2017年中国纪录片国际传播和2017年世界纪录片动态七章，较为全面地总结了2017年中国纪录片产业样态，分析了一些经典作品，兼顾中国与世界在本领域的交流。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.
目 录
Introduction1. Documentaries2. The Documentary: Its Situations and Markets3. The Documentary Industry4. The New Media Documentary5. The International Communication of China’s Documentary and China’s Image in the International Documentary6. ConclusionChapter 1 Documentary Channels and Programs in 20171.1 The Overall Pattern of Chinese Documentary Channels1.2 CCTV Documentary Channel1.3 Shanghai Documentary Channel1.4 Beijing Documentary Channel1.5 Hu’nan Golden Eagle Documentary Channel1.6 Operations Management of Documentary Channels1.7 The Program Production of Documentary Channels1.8 Arrangement of Documentary Channels’ Programs1.9 Communication Effect of Documentary Channels1.10 Overall Structure of Documentary Columns1.11 New Trends of Documentary ColumnsChapter 2 Documentary Works in 20172.1 Types and Features2.2 The Dissemination of Documentaries2.3 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 Entities4.3 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
前 言
People may read The Sound and the Fury and they may read into the past yearwhen everything was in a strange pace.We found unexpected changes in the political arena. In the US, Donald Trump,in the first two years of his tenure, acted like a bull in a china shop, regarding tohis tax cut, trade war, and amended political rules. On the other side of the NorthAtlantic, it was the fourth time for Angela Merkel to hold the regime, and the39-year-old Emmanuel Macron won the presidential election in France. It was notalways the case in Asia where China-Japan relations went wrong, and Park Geunhyewas put into jail out of her friendship with Choe Sun Sil. The crisis never wentfar in the Korean Peninsula, and it was particularly endangered after the sixthsuccessful nuclear launch by the DPRK.We also find spreading terror. The year reminded us of the global terrorism as itbroke out in an Al-Arish mosque of Egypt, in coordinated bombs in Iraq, in gunshotsin Las Vegas and Wisconsin in the US, and in the riot in Xinjiang, China.In the past year, sponsored by the “Belt and Road” Initiative, China held asummit forum on global cooperation, but it was faced with a more complicated worldthan ever. The year will be marked with the two-month Doklam stand-off betweenChina and India, the DPRK nuclear crisis, the THADD employed in the ROK, shutdownrelations across the Taiwan Straits, and the US tariff war. China, once again,embraced her new era, as commemorated by greater anti-corruption campaigns, thelaunch of the second aircraft carrier, the first flight of C919, and particularly, theopening of the 19th National Congress of the Communist Party of China (CPC).The world documented in the past year was thought-provoking and followedthe Faulkner’s way.
后记
As final compilation and edition finished, I looked out of the window. California soundly slept in this dark night surrounded by drizzling rains and whistling winds while I stayed quite conscious contemplating the constantly changing documentary industry in 2017. Wiseman, Vardar, Maurice, Lanzmann, Attenborough and other masters made great contributions to documentary production; BBC continued filming various nature documentaries; an initially unpromising Chinese documentary Twenty-Two became the annual top-grossing film … Besides, the flourishing new media such as US “upstart” Netflix, dominated the documentary market. Established companies were forced to make adjustments in managing, deeply shaping the industry. I felt soul stirring as if sitting in a roller coaster when I reviewed the changes in global documentary development in the past ten years. It is the ninth report since the launch of the documentary blue book project. This report documents the great progress of China’s documentary industry, witnessing all the waxes and wanes during its development. My sincere gratitude goes to all documentary film promoters—government, industry, media, film festivals, commerce as well as academic institutions and individuals; to China Intercontinental Communication Center (CICC) joining the Research Group, especially the solid support by Mr. Jing Shuiqing and Ms. Li Mian; to all friends, old and new, of the blue book project, especially Professor Hu Zhifeng. Professor Hu has been our committed supporter and faithful cooperator from the very beginning and this year re-assumed his original post in the project. Director Qi Bolin left us this summer, a great loss to documentary films. Director Qi lost his life in an air crash when mapping the scene for a film. I have met him twice and we two chatted pleasantly. I even wrote a report named Seeing Taiwan for my interview at that time, today serving as his commemoration. The Research Group gets extremely busy every Spring Festival. Team members scattered all over the world: Yu Ming in Britain, Shi Xin in France, Wang Yawei in Taiwan, Zhu Zhengxian in Korea and I in US Fan Qipeng stayed in China with all of you. It is the Internet that shortens our distance and enhances our cooperation. In the past nine years, young scholars have gradually become the main force of our team for their wisdom, passion and diligence. Fan Qipeng took on the difficult work of guiding, researching, communicating and polishing, Yu Ming was responsible for connecting academic modules around the world and young blood represented by Liu Zhongbo played an active role in the Research Group. Professor Fang Fang from Shanghai Theatre Academy undertook part of the work in Shanghai with his academic team. Young scholars and PhD or Master-degree students also made great contributions to this report, including Zhao Qian, Li Shujuan, Shi Xin, Cui Yajuan, Gao Shan, Li Jinshu, Li Ruihua and Luo Xiner. Mu Dan once wrote such lines in his poem Spring, “ah, light, shadow, sound and color, all naked and suffered, waiting to enter a new combination.” Spring not only indicates warmth, but also symbolizes cultivation. I regard Mu Dan’s words as a prophecy—for the future of China’s documentary films. Zhang Tongdao March 10, 2018
在线试读
Ten domestic documentary films have made ¥263 million at box office,with 170 million earned by Twenty-Two, first hundred million–box office–takingdocumentary throughout China’s film history. It also refreshed the box office recordof domestic documentary film. Earth: One Amazing Day, the second-highest grossingdocumentary this year, took ¥47.78 million at box office and Return to the Wolves wasrated third with almost ¥33 million receipts. For the first time, respective box officeof three documentary pictures all exceeded ¥30 million within the same year. Otherdocumentaries grossed less than ¥4 million. Thereby they were divided into threelevels: high, medium, and low.
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