A Research On Movie Audience’s Psychology In "Internet +" Era

“Internet + ” mode rearranges not only the traditional thinking of movies, but also the concept of our movie audience. There comes a huge change in the audience’s cognition and choice of movies, the satisfaction and loyalty, their feedbacks, as well as the way they define the success of a movie. This all happens in the context of the Internet. This paper induces and analyzes the psychological features of the movie audience in the “Internet +” age by adopting the perspective of communication studies, psychology and sociology. It mainly used the method of theoretical research. As far as the method of study is concerned, literature research method, summarized method, case study method are adopted from the very beginning to the end. This paper also strives to dissect the socio-cultural psychology of China’s “Internet + Movie” audience, including the structure of their groups, their behavior characteristics and the analysis of the whole movie audience in China, trying to find out the theoretical support of their psychological and behavioral characteristics. It provides insight into the psychological interpretation of the audience while accepting this kind of movie art works; interprets how the receiver, the audience and the intermediary, the movies, affect and promote each other respectively. In addition, it analyzes the reasons and devises the solutions to the very problems which have been revealed in the process, and tries to find out some rational methods to reverse the adverse situation. It suggests to apply the study’s results in real terms of the development of China’s “Internet + Movie” industry, and bring the audience’s effect and significance in the field of movie art, as well as the field of the popular culture into full play. In the “Internet + Movie” mode and the economic territory of contemporary China, we not only need to construct a diversified structure of movies and extend industrial chain, but also need to create a movie thought, a knowledge structure, a discourse style and a communication channel which can be well matched with the Internet and big data in this era of “audience is king”. Only if we maintain an appropriate tension between adapting audience, following the trend and making the best use of the situation, can we expect a good harvest of the box office and the whole market, ultimately win more love of the audience, and greater respect of our Chinese culture, for our Chinese movies.