[1]高 凯,李建强,王君妍.海外电影观众研究特征与态势——基于Web of Science 高被引论文的考察[J].未来传播(浙江传媒学院学报),2025,(02):115-125.

点击复制

海外电影观众研究特征与态势——基于Web of Science 高被引论文的考察()

分享到：

参考文献/References:

[1]章柏青,张卫.电影观众学[M].北京:中国电影出版社,1994:1.
[2]大卫·波德维尔.建构电影的意义: 对电影解读方式的反思[M].陈旭光, 苏涛, 译.北京: 北京大学出版社, 2017: 9-10.
[3]沃伦·巴克兰德.电影认知符号学[M].雍清, 译.北京: 中国社会科学出版社, 2012: 4.
[4]戴白夜.电影观众学的研究刻不容缓[J].电影评介, 1983(4): 16.
[5]Oliver, M.B.& Bartsch, A.(2010).Appreciation as audience response: Exploring entertainment gratifications beyond hedonism.Human Communication Research, 36(1):53-81.
[6]Bartsch, A.(2012).Emotional gratification in entertainment experience: Why viewers of movies and television series find it rewarding to experience emotions.Media Psychology, 15(3):267-302.
[7]Chen, C.C.& Lin, Y.C.(2018).What drives live-stream usage intention? The perspectives of flow, entertainment, social interaction, and endorsement.Telematics and Informatics, 35(1):293-303.
[8]Moon, S., Bergey, P.K.& Iacobucci, D.(2010).Dynamic effects among movie ratings, movie revenues, and viewer satisfaction.Journal of Marketing, 74(1):108-121.
[9]Fedorov, A.(2018).Professional risk: Sex, lies, and violence in the films about teachers.European Journal of Contemporary Education, 7(2):291-331.
[10]Park, J.H., Gabbadon, N.G.& Chernin, A.R.(2006).Naturalizing racial differences through comedy: Asian, Black, and White views on racial stereotypes in Rush Hour 2.Journal of Communication, 56(1):157-177.
[11]Liu, Y.(2006).Word of mouth for movies: Its dynamics and impact on box office revenue.Journal of Marketing, 70(3):74-89.
[12]Hsu, G.(2006).Jacks of all trades and masters of none: Audiences' reactions to spanning genres in feature film production.Administrative Science Quarterly, 51(3):420-450.
[13]Van Zoonen, L.(2007).Audience reactions to Hollywood politics.Media Culture & Society, 29(4):531-547.
[14]Dittmer, J.& Dodds, K.(2013).The geopolitical audience: Watching Quantum of Solace(2008)in London.Popular Communication, 11(1):76-91.
[15]Hasson, U., Landesman, O., Knappmeyer, B., Vallines, I., Rubin, N.& Heeger, D.J.(2008).Neurocinematics: The neuroscience of film.Projections: The Journal for Movies and Mind, 2(1):1-26.
[16]Visch, V.T., Tan, E.S.& Molenaar, D.(2010).The emotional and cognitive effect of immersion in film viewing.Cognition & Emotion, 24(8):1439-1445.
[17]Kirby, D.(2010).The future is now: Diegetic prototypes and the role of popular films in generating real-world technological development.Social Studies of Science, 40(1):41-70.
[18]Grodal, T.(2007).Pain, sadness, aggression, and joy: An evolutionary approach to film emotions.Projections-The Journal for Movies and Mind, 1(1):91 - 107.
[19]Smith, T.J.(2012).The attentional theory of cinematic continuity.Projections: The Journal for Movies and Mind, 6(1):1-27.
[20]Coegnarts, M.& Kravanja, P.(2012).Embodied visual meaning: Image schemas in film.Projections-The Journal for Movies and Mind, 6(2):84 - 101.
[21]Busselle, R.& Bilandzic, H.(2009).Measuring narrative engagement.Media Psychology, 12(4):321-347.
[22]卢康.电影如何激发观众的情感——卡尔·普兰丁格认知—知觉理论述评[J].北京电影学院学报, 2020(6):12-21.
[23]Ramos, M.(2015).The emotional experience of films: Does audio description make a difference? The Translator, 21(1):68-94.
[24]Fahlenbrach, K.(2008).Emotions in sound: Audiovisual metaphors in the sound design of narrative films.Projections: The Journal for Movies and Mind, 2(2):85-103.
[25]Bartsch, A.(2012).Emotional gratification in entertainment experience: Why viewers of movies and television series find it rewarding to experience emotions.Media Psychology, 15(3):267-302.
[26]高凯.跨文化传播视野下提升中国电影制作水平的关键策略——基于外国专家访谈的启示[J].电影新作, 2019(6): 120.
[27][英]吉尔·内尔姆斯(Jill Nelmes).电影研究导论[M].李小刚,译.北京:世界图书出版社,2013:31.
[28]Lee, F.L.F.(2008).Hollywood movies in East Asia: Examining cultural discount and performance predictability at the box office.Asian Journal of Communication, 18(2):117-136.
[29]Fu, W.W.& Govindaraju, A.(2010).Explaining global box-office tastes in Hollywood films: Homogenization of national audiences' movie selections.Communication Research, 37(2):215-238.
[30]Fu, W.W.(2013).National audience tastes in Hollywood film genres: Cultural distance and linguistic affinity.Communication Research, 40(6):789-817.
[31]Kim, S., Long, P.& Robinson, M.(2009).Small screen, big tourism: The role of popular Korean television dramas in South Korean tourism.Tourism Geographies, 11(3):323-342.
[32]Kim, S.S., Kim, S.S.& Petrick, J.F.(2019).The effect of film nostalgia on involvement, familiarity, and behavioral intentions.Journal of Travel Research, 58(2):123-145.
[33]Kim, S.S.(2010).Extraordinary experience: Re-enacting and photographing at screen tourism locations.Tourism Planning & Development, 7(1):119-134.
[34]Kim, S.& Assaker, G.(2014).An empirical examination of the antecedents of film tourism experience: A structural model approach.Journal of Travel & Tourism Marketing, 31(2):251-268.
[35]Kim, S.(2011).Audience involvement and film tourism experiences: Emotional places, emotional experiences.Tourism Management, 32(2):387-396.
[36]Hao, X.F.& Ryan, C.(2013).Destinations: A case study of Hibiscus Town, China.Annals of Tourism Research, 40(4):334-358.
[37]Hudson, S., Wang, Y.C.& Gil, S.M.(2011).The influence of a film on destination image and the desire to travel: A cross-cultural comparison.International Journal of Tourism Research, 13(2):177-190.
[38]薛宁,李琳.观众的构成与审美偏好——基于“中国电影观众满意度调查”的分析[J].文艺理论研究,2022(3): 10-20.
[39]李建强.全媒体时代电影与观众关系的“衍化”与调适[J].未来传播,2024(3):97-105.
[40]陈瑜.后电影观众:媒介视域下的电影观众问题[J].上海交通大学学报(哲学社会科学版),202(4):160-172.
[41]高凯.全球化背景下中国电影海外传播研究[M].上海:上海交通大学出版社,2013.
[42]廖圣清, 付饶, 刘敏.2023年国际传播领域的理论创新与实践发展[J].对外传播, 2023(12): 27-31.

相似文献/References: