赵宝刚都市情感话题剧的喜剧性生成机制研究

发布时间：2019-03-01 13:53

【摘要】：20世纪90年代以来，我国的社会主义市场经济体制逐渐确立，随之而来的多元文化共存格局也逐渐明朗起来，以感性愉悦和消遣娱乐为主要特征的大众文化成为了社会转型期的审美文化的主流，在大众文化传播语境下，受众对娱乐的追求达到了空前的热情，对于娱乐的追求已成为这个时代的特征。“赵宝刚”出品，是高收视率的保障，2007年随着《奋斗》的热播，人们开始对一种新形式的“话题式”电视剧展开讨论，之后《我的青春谁做主》、《婚姻保卫战》、《男人帮》、《北京青年》的高收视率展示了赵宝刚强烈的个人风格和艺术特点，以及对市场、受众需求的精准把握。特定时代的文化精神，熔铸为艺术的精神，它决定了艺术的风格与样式。每个时代都有属于自己时代的文学与艺术，它们凝聚着那个时代的语言习惯、思维方式，承载了那个时代的精神风貌与价值取向。20世纪80年代末90年代初，中国内地的文化方向发生了转变，不仅包括文化结构、文化形态的演变，更重要的是，文化生活淹没在市场经济的海洋里，大众文化对于悲剧的冲击与抑制已是显而易见的，转型期的艺术形式是喜剧性的。中国喜剧电视剧的形态可以大致分为两种：一是较为纯粹的喜剧片；一是具有喜剧元素，喜剧精神，喜剧手法的电视剧。那么，近几年赵导的话题剧便是属于后者的范畴。此为第一章从社会文化层面论述赵宝刚都市情感话题剧喜剧性生成的机制。赵宝刚导演从市场、受众的角度出发，不断将创新的血液输入到自己的电视剧中，高举“话题剧”大旗，“都市生态”融合在人物形象、台词、选题等这些叙事策略中，在一出出引人发笑的剧情中形成特有的泛都市生态喜剧。正是这种理想化才造就了赵宝刚电视剧被观众广泛讨论，并成为话题。随着我国经济的快速发展，人们生活，工作节奏的逐渐加快，激烈的竞争、强大的压力和高效的节奏使人们越来越难以承受精神的重担，情感饥荒、心理隐患、家庭矛盾、职场困惑等一系列的情感问题成为当代人重要的精神压力，，面对电视这种大众媒体的时候，人们也希望能够从中获得释放这些情感压力的满足。赵宝刚导演的“青春三部曲”等作品从“惟乐原则”出发满足了受众的需求。此为第二章从赵宝刚都市情感话题剧喜剧性生成的运作机制方面来论述。从语用学角度分析幽默台词的生成、“组别化”角色碰撞出的喜剧性趣味以及清洁的喜剧性设置三个方面来论述赵宝刚都市情感话题剧喜剧性生成的艺术手段。结合西方喜剧理论，采用跨学科分析法，内容分析法，个案分析法，比较研究法，文献分析法等方法进行分析论证。从喜剧人物、喜剧情节、拍摄手段等方面研究这些电视剧作品的喜剧效果生成，此为第三章。在近几年的话题剧中，赵宝刚导演将喜剧元素运用其中，符合了观众对于电视剧喜剧性的期待，他们希望自己能够处于适宜喜剧乐趣的情绪中去缓解生活、工作的压力，闲暇的无聊。在这个大众文化和消费文化迅速传播的环境下，研究赵宝刚导演近几年都市情感话题剧中喜剧性效果生成机制对于中国影视剧产业化进程有着重要指导意义。
[Abstract]:Since the 90 's in the 20th century, the socialist market economic system of our country has been gradually established, and the coexistence pattern of the multiple cultures has become clear, and the popular culture with the main characteristics of sensual pleasure and recreation has become the mainstream of the aesthetic culture in the social transformation period. In the context of mass culture communication, the audience's pursuit of entertainment has reached an unprecedented enthusiasm, and the pursuit of entertainment has become a feature of this time. "Zhao Baogang" 's production, is the guarantee of high ratings, with the hot sowing of in 2007, people began to discuss a new form of "Topic" TV series, and then , , , The high ratings of Beijing Youth> show the strong personal style and artistic characteristics of Zhao Baogang, as well as the precise control of the market and the audience's needs. The cultural spirit of a particular era, the spirit of the fusion and fusion of the art, determines the style and the sample of the art. Each time has the literature and art of their own age. They are the language habit and the way of thinking of the times, which bear the spiritual outlook and value orientation of the time. At the beginning of the late 1990s, the cultural direction of the Chinese mainland has changed. The change, not only the evolution of the cultural structure and the cultural form, more importantly, the cultural life is inundated in the ocean of the market economy, the impact and the suppression of the mass culture on the tragedy are obvious, the art form of the transformation period is the comedy nature, The form of Chinese comedy series can be roughly divided into two types: one is a more pure comedy; one is a television with a comedy element, a comedy spirit and a comedy method So, in recent years, Zhao's topic drama is the latter's van. This is the first chapter, from the social and cultural level, to the development of the comedy of Zhao Baogang's urban sentiment. "From the perspective of the market and the audience, the director of Zhao Baogang, from the perspective of the market and the audience, continuously inputs the innovative blood into his TV series, and holds high the narrative of" the big banner and the urban ecology "of the topic drama in the characters, lines and topics. In a strategy, a particular pan-city life is formed in a scenario that makes a laugh. Comedy. It's the idealization that made Zhao Baogang's TV series widely discussed by the audience, and With the rapid development of our economy, people's life, the gradual acceleration of the work rhythm, the fierce competition, the strong pressure and the high-efficiency rhythm make people more and more difficult to bear the burden of the spirit, the emotional famine, the psychological hidden trouble, the home A series of emotional problems, such as the contradictions of the court and the confusion of the workplace, have become the important spiritual pressure of the present generation. In the face of the mass media of the TV, people also want to be able to get the emotional pressure released from it. The "the trilogy of youth" and other works of the director of Zhao Baogang met the audience from the "principle of pleasure" This is the operation mechanism of the second chapter from the comedy of the romantic topic of the city of Zhao Baogang. From the perspective of pragmatics, the author discusses the comedies of the drama of Zhao Baogang in the three aspects: the generation of the humorous lines, the comedy of the "group" character and the comedy of the cleaning, and the three aspects of the clean comedy. In combination with the western comedy theory, the method of cross-disciplinary analysis, content analysis, case-by-case analysis, comparative study, literature analysis and so on is adopted. The author studies the comedies of these plays from the aspects of the comedy characters, the comedy plot, the shooting method and so on. This is the third chapter. In the topic in recent years, the director of Zhao Baogang used the comedy elements, which met the expectations of the audience for the comedy of the TV series, and they wanted to be able to relieve the life and the pressure of the work in the mood of the amusement of the comedy. In the context of the rapid propagation of the mass culture and the culture of consumption, the research of the comedy effect generation mechanism of Zhao Baogang in recent years in the city's emotional topic plays an important role in the process of the industrialization of China's film and television drama.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

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