革命历史的影像记忆（2000-2013革命历史题材影视剧研究）

发布时间：2018-04-19 16:05

  本文选题：新世纪 + 革命历史剧　； 参考：《武汉大学》2014年博士论文

【摘要】：新世纪以来,革命历史剧的生产空前活跃,持续引发关注。革命历史剧的流行是一种社会现象,也是一种传播活动,更是一种文化现象。首先,作为一种社会现象,革命历史剧在特定的社会语境中产生,与当下具有强烈的关联性,具有指向现实的社会意涵；其二,革命历史剧的生产与消费是一种大众传播活动,影响了人们对革命历史的认知、情感和态度,形塑公民的政治人格和集体记忆。其三,革命历史剧热播也是一种文化现象,在一定程度上折射出当代的价值观念以及意识形态。 本文重点探讨新世纪革命历史题材影视剧是如何影响人们对革命历史的认知、思想情感以及社会共识的。在社会层面上考察革命历史剧对于大众产生的整体性影响。事实上,对于社会中的每一个个体而言,记忆是一种“外在的唤起”,特定的个体记忆能否被唤起,以什么样的方式被唤起并讲述出来,取决于个体所在的群体、社会以及时代精神能否鼓励他(她)进行某种形式的回忆,提供给他(她)记忆的框架。正是在这层意义上,我们面对着一个超越了个体记忆的“集体记忆”。 集体记忆理论的核心在于：其一,“现在中心观”,集体记忆是立足现在对过去的一种建构。当人们把目光投向“过去”的时候,都会受到意识形态的诸多限制,任何人心中的“过去”都是当下社会性的建构,回忆很大程度上取决于人们现在的需要、利益和期待。其二,不同时期人们对于“过去”的记忆可能是不同的,这不是由于“过去”发生了变化,而是人们看待过去的态度和方式改变了,是社会提供叙述、整合的框架发生了改变。其三,集体记忆存在着多种社会框架,它们之间彼此交错,部分重叠,其中某个框架会在某一特定时期占据支配地位。集体记忆也因此成为当下各种社会力量斗争的场域,各种力量都试图书写有利于自己的集体记忆。集体记忆的达成是各方力量争夺、协商共谋、相互借用的结果,在这一过程中,人们关于“过去”的记忆发生着变化。 本文藉由“集体记忆”理论来审视革命历史剧。首先,从纵向的历时层面梳理了从新时期到新世纪社会语境的变迁,从政治、经济、文化三个方面对革命历史剧生产的现实语境进行了较为详细的论述,这为新世纪影像革命历史记忆的研究确立了基本的框架。在政治方面,新时期以来中国社会进入到了一个“后革命时代”,在“去政治化”的过程中,对于“革命”意义的阐释也发生了深刻的变化；在经济方面,影视文化产业已由转型期的混乱无序开始走向规范有序,这是革命历史剧生产与传播的基点；在文化方面,主导文化、大众文化、精英文化相互渗透、融合,形成了“多元共生”的局面。革命历史影像记忆作为社会文化的一个组成部分,作为人们心灵世界的一种反映,必然会受到整个社会政治、经济、文化现实的深刻影响,其价值意义与思想内核随着整个社会文化场域的转变而发生位移。 接下来,在横向的共时层面,本文全面分析了革命历史记忆的媒介文本呈现(文本内容分析)。本文从战争记忆、英雄记忆、情爱记忆三个视角切入,对革命历史影像记忆进行了符号与文本的解析。在对每一主题进行论述时,遵循内在的逻辑关系,沿着“表现了什么、如何表现、体现出什么样的特征、与既往的区别是什么”这样的思维走向,重点分析承载集体记忆的革命历史剧,在新世纪呈现出怎样的“新质”。这一分析始终是在集体记忆的理论视野下进行的,并从传播学、文化研究、影视艺术等相关领域获取了理论资源。通过分析,论文揭示出当下革命历史剧虽然仍带有上世纪革命历史创作的依稀回声,但由于历史语境、社会背景的变化以及艺术创新的努力,新世纪革命历史剧已经呈现出许多“新”的特征,在历史观念、影像风格、叙事技巧上都呈现出新的变化,重构了民众的历史记忆。通过文本分析可以看出革命历史记忆具有强烈的“建构”意涵,于是,对记忆与权力之间的关系做出解释显然是必要的。 循此向度,本文在生产、传播与消费、认同的系统视野中,从政治权力、商业权力、创作者权力、受众权力四个维度阐释了新世纪革命历史记忆之所以形成的结构性因素。探讨媒介与其他社会系统间各种权力关系的运作策略,内中的合力与共谋、施控与受控、操纵与依附、压力与张力,可见与不可见的种种因素制约着革命历史记忆的生产与传播。笔者意在从整体性的高度探究革命历史剧背后深层次的文化意涵和权力本质。经过分析,可以看到各种力量运用不同的策略和技巧形塑人们的历史记忆,或以变通的方式对其进行扬弃,或对其进行补写续写,或进行彻底的颠覆抑或是消费把玩,他们共同编织、撕扯着“革命历史”这张大网。在这种情形下,革命历史记忆出现尴尬与错位也在所难免。 最后,本文探讨了当下革命历史剧建构集体记忆时的价值失范问题,对革命历史剧中存在的消费主义、虚无主义和极端民族主义倾向进行了批判性反思。滥用革命记忆,不仅会削弱对革命历史的民族认同,还会伤害民众的情感,因此,对当下革命历史影像进行修正,从而重建作为共识与情感纽带的革命历史记忆,是一个迫在眉睫的现实文化命题。
[Abstract]:Since the new century, the production of revolutionary historical plays has been unprecedentedly active and continued to attract attention. The popularity of revolutionary historical plays is a social phenomenon, a kind of communication activity, and a cultural phenomenon. First, as a social phenomenon, revolutionary historical plays are produced in a specific social context, with a strong relevance to the present, and a point of view. Secondly, the production and consumption of the revolutionary historical plays are a kind of mass communication activities, which affect people's cognition, emotion and attitude towards the history of the revolution, shape the political personality and collective memory of the citizens. Thirdly, the hot broadcast of the revolutionary historical drama is also a cultural phenomenon, to a certain extent, reflects the values and ideas of the contemporary era. Know the form.
This paper focuses on how the film and TV dramas of the revolutionary history theme in the new century affect people's cognition of the history of the revolution, the thoughts and feelings and the social consensus. In the social level, the whole influence of the revolutionary historical plays on the masses is investigated. In fact, for every body in the society, memory is a "external arousal". Whether or not the particular individual memory is aroused, what kind of evoking and telling, depends on whether the group, the society and the spirit of the times encourage him (she) to carry out some form of memory and provide the frame of memory to him (her). It is in this sense that we face a "collective" that transcends the memory of the individual. Memory ".
The core of collective memory theory lies in the following: first, "the present center view", the collective memory is based on the present construction of the past. When people put their eyes to the past, they are all restricted by the ideology, and the "past" in anyone's heart is the social construction of the present, and the recollection depends largely on the people. Our present needs, interests and expectations. Secondly, the memory of "past" may be different in different periods. This is not due to the change in the past, but the change in attitudes and ways of the past. It is the society that provides the narrative, the framework of integration has changed. Thirdly, there are a variety of social frames in the collective memory. They interlace and overlap each other, one of which occupies a dominant position in a particular period. Collective memory also becomes the field of all kinds of social power struggles, and all kinds of forces try to write the collective memory that is beneficial to themselves. The collective memory is a contention of all parties, conspiracy and borrowing from each other. As a result, people's memory of "past" has changed during this process.
This article examines the revolutionary historical dramas by "collective memory" theory. First, from the vertical diachronic level, the changes from the new period to the new century social context are combed, and the realistic context of the production of revolutionary historical drama is discussed in detail from the three aspects of politics, economy and culture, which is the research of the historical memory of the new century image revolution. In the political aspect, the Chinese society has entered a "post revolutionary era" since the new period. In the process of "dispoliticization", the interpretation of the meaning of the "revolution" has also undergone profound changes; in the economic aspect, the film and television culture industry has started from the chaos and disorder of the transition period to the standard order. This is the basis of the production and dissemination of the revolutionary historical dramas, and in the cultural aspect, the dominant culture, the mass culture and the elite culture permeate and merge together, forming a "multiple symbiosis" situation. As a part of the social culture, the revolutionary historical image memory is a reflection of the people's mind world, and it will inevitably be subject to the whole social politics, The profound influence of economic and cultural reality has shifted its value and ideological core with the transformation of the whole social and cultural field.
Then, in the horizontal synchronic level, this paper comprehensively analyzes the media text presentation of revolutionary historical memory (text content analysis). From three perspectives of war memory, hero memory and love memory, this paper analyses the symbol and text of revolutionary historical memory. The relationship, along the way of "what is shown, how to behave, what kind of characteristics is reflected, and what is the difference between the past", focuses on the analysis of the revolutionary historical dramas carrying collective memory, and the "new quality" in the new century. This analysis has always been carried out under the theory of collective memory, and from communication, Theoretical resources have been obtained in cultural research, film and television art and other related fields. Through the analysis, the thesis reveals that although the present revolutionary historical plays still have a rare echo of the revolutionary historical creation of the last century, the new century's revolutionary historical dramas have shown a lot of "new" because of the historical context, the change of the social background and the efforts of artistic innovation. Characteristics, in the historical concept, image style, narrative skills have presented new changes, reconstructs the historical memory of the people. Through the text analysis, it can be seen that the revolutionary historical memory has a strong "construction" meaning, so it is necessary to explain the relationship between memory and power.
In this direction, this article explains the structural factors that have formed in the new century's revolutionary historical memory from four dimensions of the political power, commercial power, creator power and audience power in the system vision of production, communication and consumption, and the audience power. This paper probes into the operation strategies of various power relations between the media and other social systems, and the joint force and the internal force. Conspiracy, control and control, manipulation and attachment, pressure and tension, visible and invisible factors restrict the production and dissemination of revolutionary historical memory. The author intends to explore the deep cultural connotation and power essence behind the revolutionary historical drama from a holistic height. After analysis, we can see that various forces use different strategies and techniques. In this case, it is unavoidable that the historical memory of the revolutionary history is embarrassed and misplaced.
Finally, this paper discusses the value anomie of the present revolutionary historical drama in the construction of collective memory, and gives a critical reflection on the consumerism, nihilism and extreme nationalism in the revolutionary historical plays. The abuse of revolutionary memory will not only weaken the national identity of the revolutionary history, but also hurt the people's feelings, therefore, to the point of view. It is an imminent realistic cultural proposition to revise the revolutionary historical images and reconstruct the revolutionary historical memory as a link between consensus and emotion.

【学位授予单位】：武汉大学
【学位级别】：博士
【学位授予年份】：2014
【分类号】：J905
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本文编号：1773777