Search

Analysis on Psychology and Characteristics of Audiences of Main Theme Film and Television Works in the New Era

Author(s)

Chengjun Ma1, Peng He2,*

Affiliation(s)

1College of Malanshan New Media, Changsha University, Changsha, 410075, Hunan, China 2College of Architecture, Changsha University of Science & Technology, Changsha, 410075, Hunan, China *Corresponding Author.

Abstract

This paper aims to analyze the characteristics of main theme film and television works in the new era and the psychology of its audience, which is used to explore its future development. Through questionnaire surveys and literature reviews, this paper found that the audience of main theme film and television works have distinct psychological tendencies. Firstly, the audience has a strong sense of identification and emotional resonance with these works, which indicates that these works play a positive role in conveying social values and shaping public consciousness. Secondly, the audience pays great attention to the themes and content of main theme film and television works, which have significant advantages in depicting social reality and transmitting positive energy. In addition, through case studies and literature reviews, it is found that main theme works have four distinct artistic features: emotional expression, authentic representation, categorized portrayal and integrated narrative. This paper believes that facing the challenges brought by the new era and technological development, main theme film and television works need to continuously innovate and develop on the basis of maintaining traditional advantages, in order to meet the psychological needs of different audiences and actively respond to the challenges brought by globalization.

Keywords

Main Theme; Film and Television Works; Development Process; Values; Characteristics

References

[1] Ren Liting. On the “mainstream” communication strategy of main theme films. West China Broadcasting TV, 2023, 44(13): 112-114. [2] Zhong Lixi. The popular culture characteristics and spiritual construction methods of main melody films. Social Scientist, 2018, (08): 146-150. [3] Wang Mengqian, Wang Yifan. The integration of main melody films into education in universities: logic, dilemmas, and optimization paths. New Films, 2021, (01): 144-150. [4] Yang Jianyan. Give Full Play to a Political Film in the College Education. Movie Review, 2007(22):83-84. DOI: 10.16583/j.cnki.52-1014/j.2007.22.059. [5] Zhou Han. Analysis of the challenges faced by main melody films and thoughts on transformation. Communication Power Research, 2018, 2(32): 11-12. [6] Zheng Shuxiang. Applying main melody films in patriotic education for college students in the new era. Journal of Fujian Institute of Education, 2022, 23(07): 4-7. [7] Lin Jingjing. From “main theme” to “mainstream” - Typological creation of main theme film in twenty years (1987-2007). Great Stage, 2011(04):167-170. [8] Yin Hong. The turn of the century: A memo of Chinese films in the 1990s. Contemporary Cinema, 2001(01):23-32. [9] Zhang Jingjing. The creative characteristics of Chinese main melody films. Business Outlook (Education and Economic Research), 2008(05):23. [10] Lu Shaoyang. Television and film: A new form that influences the overall structure of contemporary film culture. Film Art, 2001(05):13-16. [11] Rao Shuguang. Genre experience (strategy) and China's film development strategy. Contemporary Cinema, 2008(05):4-10.