新媒体的出现与广泛运用,促使文学影视改编剧的营销模式有了更高的渗透性、互动性和便捷性,这对剧目宣传与受众接受起着至关重要的作用。本文基于AISAS经典模型,以现象级文学影视改编剧《繁花》为例,探究文学作品影视改编剧的新媒体营...新媒体的出现与广泛运用,促使文学影视改编剧的营销模式有了更高的渗透性、互动性和便捷性,这对剧目宣传与受众接受起着至关重要的作用。本文基于AISAS经典模型,以现象级文学影视改编剧《繁花》为例,探究文学作品影视改编剧的新媒体营销策略,总结出可供同类型剧目开展新媒体营销的相关启示与建议。The emergence and widespread use of new media have led to higher penetrability, interactivity, and convenience in the marketing model of TV dramas adapted from literary works, which plays a crucial role in program promotion and audience acceptance. Based on the classic AISAS model, this paper takes the phenomenon-level TV dramas Blossoms Shanghai as an example to explore the new media marketing strategies of TV dramas adapted from literary works. It summarizes relevant insights and suggestions for similar types of dramas to carry out new media marketing.展开更多
文摘新媒体的出现与广泛运用,促使文学影视改编剧的营销模式有了更高的渗透性、互动性和便捷性,这对剧目宣传与受众接受起着至关重要的作用。本文基于AISAS经典模型,以现象级文学影视改编剧《繁花》为例,探究文学作品影视改编剧的新媒体营销策略,总结出可供同类型剧目开展新媒体营销的相关启示与建议。The emergence and widespread use of new media have led to higher penetrability, interactivity, and convenience in the marketing model of TV dramas adapted from literary works, which plays a crucial role in program promotion and audience acceptance. Based on the classic AISAS model, this paper takes the phenomenon-level TV dramas Blossoms Shanghai as an example to explore the new media marketing strategies of TV dramas adapted from literary works. It summarizes relevant insights and suggestions for similar types of dramas to carry out new media marketing.
