Communication model of movie story scene

My Le Tra, Hieu Tran Ngoc, Thao Nguyen Thi Phuong
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引用次数: 0

Abstract

Each literary genre is a way of organizing works, a type of life representation, and a particular type of artistic communication. One of the ways to approach the film script as a literary genre is to recognize its communicative characteristics. The communication model of the movie script is closely associated with and imprinted with the film production process. Drama texts are placed in a hierarchical communication model, with diverse communication roles, where the screenwriter has a special role and fate. The screenplay for a feature film has a dual identity, being both a text - a message - in the first communication activity (between the elements of the film production process), and plays the role of a transmitter in communication activities. second (between the factors that produce the film, the film, and the viewer). It is both encoded and transcoded (encodes the writer's message; transcodes language into code that synthesizes images and sounds). The dramatic text itself, when functioning in that communication activity, has different characteristics from the texts of other literary genres, that is, it is expressive and generative.
电影故事场景的传播模式
每一种文学体裁都是一种组织作品的方式,都是一种生活表现,都是一种特殊的艺术交流。将电影剧本作为一种文学类型来研究的途径之一是认识其交际特征。电影剧本的传播模式与电影的制作过程有着密切的联系和烙印。戏剧文本被置于一种分层传播模式中,具有多样化的传播角色,其中编剧具有特殊的角色和命运。故事片的剧本具有双重身份,在第一次传播活动中(电影制作过程中各要素之间)既是文本——信息,又是传播活动中的传递者。第二(在制作电影、电影和观众之间)。它被编码和转编码(编码作者的信息;将语言转换为合成图像和声音的代码)。戏剧文本本身在这种交际活动中发挥作用时,具有不同于其他文学类型文本的特点,即它具有表现力和生成性。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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