新世纪青春剧中男性主人公的形象嬗变

发布时间：2018-06-22 21:02

本文选题：青春剧 + 男性主人公的形象　；参考：《山西大学》2013年硕士论文

【摘要】：第一章首先界定青春剧的范围,阐释笔者对青春剧的理解与定义。对青春剧概念的阐释,由于研究者的切入点不同、论证的前提不同,所以难免出现见仁见智的结果,以及当下的所谓“泛偶像剧化”的提法,都是对青春剧的误读。笔者着重针对以上两点发现它们的不足、错误,进而提出自己的看法。还有对青春偶像剧直接等同于青春剧的错误认识笔者也将提到并纠正。论文通过对前人研究青春偶像剧与青春剧的界定概括总结之后,提出自己的看法,清楚青春剧和青春偶像剧的差异后,最终定义出青春剧的概念。并且对青春剧进行分类,笔者在参考和结合前人对青春剧分类的研究成果的基础上,增加对类型的进一步扩充与思考,使得青春剧的分类更加全面。第一章的第三节着重发现与探索新世纪之前的青春剧中男性主人公形象。在对新世纪之前的青春剧做梳理过程中笔者慢慢发现了这一段历史当中人物形象的特点、模式,并在总结整理的前提下与新世纪之后的人物形象进行对比,于是在这一前一后的嬗变过程中发现变化。第二章对新世纪之后青春剧中性格迥异的男性主人公的形象成为笔者分析的重点,通过对新世纪之前的青春剧中男性主人公形象的梳理,笔者发现关注个体个性化,人文主义,理性主义的思想在国人的思维意识中越来越强,这种思想尤其是被编剧导演体现在影视作品当中,使得男性主人公的形象都显得丰满、厚实而且富有精神新质与审美元素,正是这些精神新质与审美元素形成了当代青春剧的精神内核,使得青春剧焕发出前所未有的思想光芒。这些精神新质与审美元素就是青春剧嬗变出的美丽果实也是笔者重点谈论的对象。第三章首先是对青春剧男性主人公形象嬗变的思考,同时发现青春剧目前存在的一些问题,当然也提出笔者认为的一些解决方法,最后就是对青春剧宏观的展望,不仅希望青春剧可以坚持“本土化”发展战略,同时也可以参与国际化的竞争,这更是对中国影视剧的希冀。
[Abstract]:The first chapter defines the scope of youth drama, explains the author's understanding and definition of youth drama. The interpretation of the concept of youth drama, due to the different breakthrough point of the researcher, the premise of the argument is different, so it is inevitable to have different results, as well as the current so-called "pan-idol drama" of the formulation, are misreading of youth drama. The author focuses on the above two points to find their shortcomings, errors, and then put forward their own views. The author will also mention and correct the false understanding that youth idol drama is directly equivalent to youth drama. After summing up the previous studies on the definition of youth idol drama and youth drama, the paper puts forward its own views, makes clear the difference between youth drama and youth idol drama, and finally defines the concept of youth drama. And on the basis of the classification of youth drama, the author makes the classification of youth drama more comprehensive, on the basis of referring to and combining the previous research results of the classification of youth drama, to increase the further expansion and thinking of the types. The third section of the first chapter focuses on discovering and exploring the characters of male protagonists in the youth drama before the new century. In the process of combing the youth dramas before the new century, the author slowly discovered the characteristics and patterns of the characters in this period of history, and compared them with the figures after the new century on the premise of summing up and arranging. Thus, changes were discovered in the course of this evolution. The second chapter focuses on the image of the male protagonist in the youth drama after the new century. By combing the image of the male protagonist in the youth drama before the new century, the author finds that he pays close attention to individual personality and humanism. Rationalism is becoming more and more powerful in Chinese people's thinking consciousness. This kind of thought is embodied in film and television works by writers and directors, which makes the images of the male protagonists appear plump, thick and full of spiritual new quality and aesthetic elements. It is these new spiritual qualities and aesthetic elements that form the spiritual core of contemporary youth drama and make it radiate with unprecedented thought. These new spiritual qualities and aesthetic elements are the beautiful fruits of the evolution of youth drama and the object of my discussion. The third chapter first is to the youth drama male hero image evolution ponder, at the same time discovers the youth drama present existence some questions, certainly also proposed the author to think some solution, finally is to the youth drama macroscopic prospect, It is not only hoped that the youth drama can adhere to the development strategy of "localization", but also can participate in the international competition, which is the hope of the Chinese film and television drama.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

【参考文献】