传播与文化视域中的中国家庭伦理剧研究
发布时间：2018-10-13 10:01
【摘要】：当下,家庭伦理剧的火爆已成为一种备受关注的传播现象与文化现象。作为当今荧屏的宠儿,作为电视剧市场的天之骄子,其高产量、高收视率、高获奖率无不令其它类型的电视剧眼热三分。与此同时,伴随着家庭伦理剧的“叫好”与数量的激增,情节雷同、故事离奇、价值失范等负面影响也日益彰显。作为贴近民众、贴近生活、贴近社会的媒介产品,它与国之大家、民之小家密切相关,故其文本内容与文化内涵也值得我们进一步探讨与深思。鉴于此,笔者从传播与文化的视角出发,运用跨学科的研究方法对20世纪90年代以来的中国家庭伦理剧进行详尽而深入的分析。 首先,笔者通过梳理中国家庭伦理剧的历史轨迹与发展脉络,指出家庭伦理剧的发展主要历经了三个阶段：萌芽期、发展期和繁荣期,其叙事对象和命题越来越走向多元化、大众化,并且由于家庭伦理剧对象的大众性与内容的娱乐性,造成其受众面广,影响力大 其次,笔者从传播学的角度切入,借用影视类型学、影视叙事学、涵化理论、编码与解码等多种理论,从传播语境、传播文本、传播效果三个层面对家庭伦理剧进行了全面的考察与解析。论文指出,家庭伦理剧之所以得以生存、发展与壮大,与其牢牢植根于政治、经济、社会语境密不可分；同时,从叙事学角度考察,也与其作为类型剧息息相关。它建构了一系列关于男性与女性、城市与农村、传统与现代的二元对立,形成了独具匠心的叙事策略,且隐含了主流意识形态的导向。此外,论文也指出尽管家庭伦理剧竭力为受众建构一个仿真的现实,不露声色地打造社会共识,但鉴于受众特殊的社会属性,其传播效果与传者最初的意图有时会出现偏差。 最后,笔者从传统文化、文化产业、大众文化等多维视角切入,讨论家庭伦理剧在文化领域中的复杂影响。一方面,家庭伦理剧向观众极力展现夫妻之伦、兄弟之伦、代际之伦等传统文化的精髓要义。另一方面,为了迎合市场,它也在走向文化工业的生产模式,并且在价值观上展现了告别崇高、告别英雄叙事、走向多元价值观的趋势,而这些也正是后现代社会的文化表征 当然,在肯定家庭伦理剧的诸多传统要素与现代特征的同时,我们也必须注意,作为文化工业的产品,其很容易在消费主义的刺激下异化为一种苦情戏、奇观戏的建构。我们必须牢记,艺术来源于生活,家庭伦理剧在今后的发展道路上应多接点“地气”,少一点煽情与虚夸,惟其如此,才能为广大民众提供更多更好的精品。
[Abstract]:At present, the popularity of family ethics drama has become a concerned phenomenon of communication and culture. As the favorite of today's screen, as the market of TV series, its high production, high ratings, high winning rate all make other types of TV series hot eye. At the same time, along with the family ethics drama "praise" and the proliferation of the number, the plot is similar, the story is strange, the value is out of order and so on the negative influence also manifests day by day. As a media product which is close to the people, life and society, it is closely related to the people and the small family of the people, so its text content and cultural connotation are also worthy of our further discussion and deep thinking. In view of this, from the perspective of communication and culture, the author makes a detailed and in-depth analysis of Chinese family ethics drama since the 1990s by using interdisciplinary research methods. First of all, the author points out that the development of family ethics drama has gone through three stages: budding period, developing period and prosperity period, and its narrative objects and propositions are becoming more and more diversified by combing the historical track and development thread of Chinese family ethics drama. Popular, and because of the popularity of the family ethics drama object and the entertainment of the content, it is popular and influential, the author cuts in from the angle of communication, borrows the film and television typology, the film and television narratology, The theories of acculturation, coding and decoding have made a comprehensive investigation and analysis on family ethics drama from three aspects: communication context, communication text and communication effect. The paper points out that the survival, development and growth of family ethics play are closely related to its political, economic and social context, and is closely related to its type play from the perspective of narratology. It constructs a series of dualistic opposites between men and women, between cities and countryside, between tradition and modern, and forms a unique narrative strategy, which implies the orientation of mainstream ideology. In addition, the paper also points out that although family ethics dramas strive to construct a simulated reality for the audience and build a social consensus quietly, in view of the special social attributes of the audience, the communication effect of the drama sometimes deviates from the original intention of the communicator. Finally, from the perspective of traditional culture, cultural industry and mass culture, the author discusses the complex influence of family ethics drama in the field of culture. On the one hand, family ethics plays show the essence of traditional culture, such as husband and wife, brother and intergenerational. On the other hand, in order to cater to the market, it is also moving towards the production mode of cultural industry, and shows the trend of farewell to sublime, farewell to heroic narration and pluralistic values in the values. And these are the cultural symbols of post-modern society. Of course, while affirming many traditional elements and modern features of family ethics dramas, we must also pay attention to them as products of the cultural industry. It is easy to dissimilate into a kind of bitter drama and the construction of spectacle play under the stimulation of consumerism. We must bear in mind that art originates from life, and that family ethics plays should touch the ground more in the future, with less sensationalism and falsehood. Only in this way can we provide more and better quality works for the general public.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905;G206
[Abstract]:At present, the popularity of family ethics drama has become a concerned phenomenon of communication and culture. As the favorite of today's screen, as the market of TV series, its high production, high ratings, high winning rate all make other types of TV series hot eye. At the same time, along with the family ethics drama "praise" and the proliferation of the number, the plot is similar, the story is strange, the value is out of order and so on the negative influence also manifests day by day. As a media product which is close to the people, life and society, it is closely related to the people and the small family of the people, so its text content and cultural connotation are also worthy of our further discussion and deep thinking. In view of this, from the perspective of communication and culture, the author makes a detailed and in-depth analysis of Chinese family ethics drama since the 1990s by using interdisciplinary research methods. First of all, the author points out that the development of family ethics drama has gone through three stages: budding period, developing period and prosperity period, and its narrative objects and propositions are becoming more and more diversified by combing the historical track and development thread of Chinese family ethics drama. Popular, and because of the popularity of the family ethics drama object and the entertainment of the content, it is popular and influential, the author cuts in from the angle of communication, borrows the film and television typology, the film and television narratology, The theories of acculturation, coding and decoding have made a comprehensive investigation and analysis on family ethics drama from three aspects: communication context, communication text and communication effect. The paper points out that the survival, development and growth of family ethics play are closely related to its political, economic and social context, and is closely related to its type play from the perspective of narratology. It constructs a series of dualistic opposites between men and women, between cities and countryside, between tradition and modern, and forms a unique narrative strategy, which implies the orientation of mainstream ideology. In addition, the paper also points out that although family ethics dramas strive to construct a simulated reality for the audience and build a social consensus quietly, in view of the special social attributes of the audience, the communication effect of the drama sometimes deviates from the original intention of the communicator. Finally, from the perspective of traditional culture, cultural industry and mass culture, the author discusses the complex influence of family ethics drama in the field of culture. On the one hand, family ethics plays show the essence of traditional culture, such as husband and wife, brother and intergenerational. On the other hand, in order to cater to the market, it is also moving towards the production mode of cultural industry, and shows the trend of farewell to sublime, farewell to heroic narration and pluralistic values in the values. And these are the cultural symbols of post-modern society. Of course, while affirming many traditional elements and modern features of family ethics dramas, we must also pay attention to them as products of the cultural industry. It is easy to dissimilate into a kind of bitter drama and the construction of spectacle play under the stimulation of consumerism. We must bear in mind that art originates from life, and that family ethics plays should touch the ground more in the future, with less sensationalism and falsehood. Only in this way can we provide more and better quality works for the general public.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905;G206
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