Research On Film Communication Channels In The Age Of All Media

From the perspective of media development,the current society has undoubtedly entered the "all media era".The development and change of media has led to profound changes in media pattern and communication mode,which also directly affects the communication of films.In this paper,namely the hinge on media age film transmission channel of the study,analysis of the whole movie channels composing in media era,examine all media era of media development to bring the change of the transmission channel,to explore the media age film transmission channel using policy,from the perspective of humanistic thinking all media era movie channel and present problems and corresponding countermeasures.The thesis is divided into four parts.The first part elaborates the issues related to film communication in the omnimedia era.First,interpret the meaning of "all media era".The word "whole" contains the omni-directional use of media,the omni-directional integration of media and the omni-directional coverage of media.The "all media era" is the background and the research field of this paper.Secondly,the dual media attributes of film are discussed.Film is not only a medium of communication,but also the object of communication.The latter requires effective communication channels.Thirdly,define the meaning of communication channels and classify the current main film communication channels in terms of types,namely cinema,traditional mass media channels,digital-based social media channels and offline communication channels.Fourth,it summarizes the new characteristics of film communication channels in the age of all media,that is,film communication channels are more diverse and flexible,more open and convenient,more practical and effective.The second part discusses the evolution of film communication channels in the age of all media.Summarize the regularity change of 3 respects.First,from the perspective of the change of channel form,it shows the evolution from "limited" to "infinite"."Limited" means that the traditional film communication channels are limited by time and space and difficult to be widely spread;"Infinite" refers to the fact that the film communication channels created by new media have removed the time and space barriers.and audiences have been able to accept information at all times and everywhere.Second,the change of channel flow shows the evolution from one-way to two-way interaction.The flow of the traditional channel is mostly one-way,and the film disseminator will complete the task of conveying the film information to the audience through the channel.The use of new media can make the disseminator's information dissemination and the audience accept at the same time,convection interaction becomes the normal.Thirdly,from the perspective of channel function change,it presents the evolution from single function to multi-function.The main function of the traditional film communication channel is to inform.The film communication channel supported by digital technology not only has the function of informing,but also has the function of audience feedback,experience and information enhancement.The third part studies the strategies of film communication channels in the age of all media,with case studies as evidence.The main use strategies are as follows:first,multi-channel linkage and integration,that is,the film information sent by one channel can be forwarded and spread quickly for other channels,thus condensing into the collective power of film release;The second is the diversified access path,that is,using a variety of technology media to open the access path for the audience to receive information,in the fastest and most diversified way to achieve the purpose of communication;Third,the distribution channels of demassification and individualization,namely,film receivers are divided into different types of groups according to certain standards to form personalized target audiences and precisely spread them.This part takes the movie "the legend of the demon cat" as an example to demonstrate the above strategies in real combat.The fourth part,thinking about the current film communication channel problems and put forward the corresponding countermeasures.The development of media channels has brought good news to film communication,but there are also some negative problems,mainly due to the excessive catering to the public aesthetic taste in the pursuit of profit maximization,and the frequent occurrence of vulgar and mediocre channel content production.In this regard,it is proposed that in addition to strengthening the legal system construction of industry supervision,problems should be solved from the moral and aesthetic dimensions,that is,the field of film communication should have moral presence and aesthetic guidance.The purpose of this study is to realize the overall reflection and clear cognition of the current film communication channels,and to provide references for later relevant researches and film communication practices.