川渝方言影视剧创作研究

发布时间：2018-01-08 05:18

本文关键词：川渝方言影视剧创作研究　出处：《湖北民族学院》2014年硕士论文　论文类型：学位论文

【摘要】：本文立足于对川渝方言影视剧剧本内容创作和影视美学价值的研究。通过对影视剧的文本分析,总结川渝方言影视剧在内容和美学价值上的特点和创新之处。在创作理念上,川渝方言影视剧一般以草根英雄为主要人物,塑造了侠骨中有如水柔情,豪气中不乏匪气,智慧中透出狡黠,无私中又略带小算盘的新英雄形象。改变了传统剧目中英雄人物“高大全”的扁平人物形象。正因为剧中人物性格的英雄形象,表现出了草根英雄们许多不为人知的“缺点”,叙述了英雄人物的成长的历史,塑造出更让观众觉得真实而容易接受的人物。在塑造人物形象上,川渝方言影视剧中,将有缺点的英雄人物搬上了荧幕,不乏一夜之间就出现了像“樊傻儿”、“王保长”等家喻户晓的艺术形象的佳作。这些剧中塑造的人物形象都是个性鲜活、独具特色,包括其中的一些配角人物如李老栓、三嫂子等也都成为20世纪八九十年代中国影视剧中极具特色和个性的影视人物群像。影视作品的内容上,川渝方言影视剧大多反映川渝地区的野史逸事,《傻儿师长》取材于富有传奇色彩的四川历史人物范绍增。《抓壮丁》反映了民国时期四川特殊的征兵方式。这些影视剧的当代价值在于,它深度挖掘和传播了地方文化,丰富了影视艺术的语言表现力；在影视造型音乐上,注重音乐性和地域性结合,幽默风趣的人物语言与川剧这样的地方曲艺音乐相映成趣,相得益彰,再加上场景以真实的川渝风情为背景,三者有机融合,创造出了一个充满巴蜀风情的影像世界,表现和寄托了巴蜀人民最具普遍意义的情感与审美期待。川渝方言影视剧的创作形成了自己的艺术风格并受到广大观众的好评,从影视剧的人物塑造和内容题材选择,到地方文化资源的利用以及地域文化及思想内涵的升华等方面,都从幽默风趣中传达出一种地域的正能量,引起了社会各界的广泛关注。虽然目前川渝方言影视剧已经在方言影视作品中自成一派,但是进入21世纪以来,川渝方言影视剧却没有得到应有的长足发展。片面追求收视率、迎合三俗市场的兴趣以及缺乏地域性和国际性的结合等原因,使得川渝方言影视剧走入了发展的停滞期。今天的传媒影视研究者,很有必要通过对这种影视种类的停滞现象分析出原因,寻找出一条发展川渝方言影视剧的可行道路。
[Abstract]:This paper is based on the study of the content creation and the aesthetic value of film and TV drama in Sichuan and Chongqing dialect. Through the text analysis of film and television drama, this paper summarizes the characteristics and innovations of Sichuan and Chongqing dialect film and television drama in content and aesthetic value. In terms of creative concept, the main characters of Sichuan and Chongqing dialect film and television drama are grassroots heroes. Created in the chivalrous bone like water tenderness, luxury is not lack of bandits, wisdom revealed cunning. The new hero image with a little abacus in selflessness has changed the flat figure image of the hero character "tall and complete" in the traditional repertoire, which is precisely because of the hero image of the character in the play. It shows many unknown "shortcomings" of the grassroots heroes, narrates the growing history of the heroes, and shapes the characters that are more authentic and acceptable to the audience. Sichuan and Chongqing dialect film and television drama, will have shortcomings of the hero on the screen, no lack of overnight appeared like "Fan silly children." "Wang Baochang" and other well-known artistic images. These plays portray characters are fresh personality, unique, including some of the supporting characters such as Li Laoshuan. In 20th century, Sisters-in-law and other Chinese films and TV dramas were featured and individualized. On the content of film and television works, Sichuan and Chongqing dialect movies and TV plays mostly reflect the wild history of Sichuan and Chongqing. "stupid Children Division" is drawn from the legendary Sichuan historical figure Fan Shaozeng. "grasping Zhuang Ding" reflects the special recruitment methods in Sichuan during the Republic of China. The contemporary value of these films and TV plays lies in. It deeply excavates and spreads the local culture, enriches the language expression of film and television art; In the film and television modeling music, pay attention to the combination of music and regional, humorous and funny characters language and Sichuan opera such as local qu music match, complement each other, plus the scene with the real Sichuan and Chongqing customs for the background. The three have created an image world full of Bashu amorous feelings, expressing and sustenance the most universal emotion and aesthetic expectation of Bashu people. The creation of Sichuan and Chongqing dialect film and television drama formed its own artistic style and was well received by the audience from the film and television drama characters and content theme selection. To the utilization of local cultural resources and the sublimation of regional culture and ideological connotation, it conveys a kind of positive regional energy from humor and humor, which has aroused widespread concern from all walks of life. Although Sichuan and Chongqing dialect film and television drama has become a school in dialect film and television works, but since 21th century, Sichuan and Chongqing dialect film and television drama has not got its due considerable development and one-sided pursuit of ratings. Catering to the interest of the three vulgar markets and the lack of regional and international combination of other reasons, Sichuan and Chongqing dialect film and television drama has entered a stagnant period of development. Today's media film and television researchers. It is necessary to analyze the reasons for the stagnation of this kind of film and television, and find a feasible way to develop Sichuan and Chongqing dialect movies and TV dramas.
【学位授予单位】：湖北民族学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

【参考文献】