解构的悖论：中国网络自制剧的发展困境

发布时间：2018-05-29 04:37

本文选题：网络剧 + 解构　；参考：《吉林大学》2015年硕士论文

【摘要】：2010年被称为“网络自制剧元年”，随着广电总局对网络侵权影视作品的打击，国内各大视频网站开始投放大量自制内容，网络自制剧一时间大范围出现在公众视野。然而由于社会心理、网络文化、资金、稚嫩的产业链以及网络技术等因素的影响，使得初出茅庐的网络自制剧发展失衡，呈现出浓重的后现代特征。其去中心化的叙事结构、“符号”式的人物以及恶搞的审美风格均表现出对传统电视剧叙事模式的解构之思。解构主义作为后现代思想的理论基础，提倡破坏一切既有结构与规则，解构中心，解构权威。然而我们必须注意到的是网络自制剧在解构传统叙事模式的同时导致了一种零散、虚无的叙事形态被建立，使其陷入了悖论的漩涡。碎片化的叙事结构阻碍了故事情节的完整表达，，解构了剧的灵魂；“符号”式的人物塑造方式导致了人物形象的扁平化、漫画化，人的主体性随之消解；恶搞式的审美风格打破了传统审美标准，造成小众性的审美视角无法融入大众视野，这些均成为当今中国网络自制剧的致命伤。众所周知后现代精神是对现存不完善的秩序的反抗，希望通过反抗达到多元与平等。在网络自制剧中传统叙事模式遭到解构，零散的叙事形态被建立，实则是从一种单一走入另一种单一，多元与平等不但没能实现，反而带来了无尽的平面与虚空。解构之下的网络自制剧故事情节、人情物理、逻辑关联、美感意境全都无迹可寻，只余留无养分的玩笑吸引观众。在对旧有形式进行反抗之后，自己却背离了反抗的初衷，陷入悖论的泥潭，这便是中国网络自制剧的生存现状，同时也是目前中国网络文化的通病。虽然幽默喜剧能够短时间吸引关注度，但长此以往没有亮点留住人们的眼球，网络自制剧或将走入死胡同。
[Abstract]:2010 is called "the first year of network self-production". With the attack on network infringement of film and television works by the State Administration of Radio, Film and Television, various domestic video websites have begun to put in a large number of homemade content, and the network self-production has appeared in a wide range of public eyes for a long time. However, due to the influence of social psychology, network culture, capital, immature industrial chain and network technology, the development of the fledgling network self-production is out of balance, showing a strong post-modern characteristics. Its decentralized narrative structure, "symbol" characters and playful aesthetic style all show the deconstruction of the narrative mode of traditional TV plays. Deconstruction, as the theoretical basis of postmodern thought, advocates the destruction of all existing structures and rules, deconstruction centers and deconstruction authority. However, we must pay attention to the fact that while deconstructing the traditional narrative mode, the network self-made play has led to the establishment of a scattered, nihilistic narrative pattern, which makes it fall into a paradox vortex. The fragmented narrative structure hinders the complete expression of the story plot and deconstructs the soul of the play; The mischievous aesthetic style has broken the traditional aesthetic standard and caused the minority aesthetic angle of view to be unable to be integrated into the public view, which has become the fatal injury of China's network self-production. It is well known that the post-modern spirit revolts against the existing imperfect order and hopes to achieve pluralism and equality through resistance. The traditional narrative mode has been deconstructed and the scattered narrative form has been established in the self-production of the network. In fact, it is from one kind of single to the other. Pluralism and equality have not only failed to realize, but also brought endless plane and emptiness. Under the deconstruction of the network of self-production story plot, human physics, logical correlation, aesthetic mood all have no trace to find, only the lack of nutrients to attract the audience jokes. After resisting the old form, he deviated from the original intention of resistance and got into the quagmire of paradox. This is the survival situation of Chinese network self-made drama and the common problem of Chinese network culture at the same time. While humorous comedies can attract attention in a short period of time, there is no bright spot to keep people's eyes in the long run, and online dramas may end up in a dead end.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J905

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