亚洲漫画改编电视剧研究

发布时间：2018-03-19 04:36

本文选题：改编　切入点：电视剧　出处：《山东师范大学》2009年硕士论文　论文类型：学位论文

【摘要】： 随着视觉艺术和数字技术的迅速发展,现代人的生活里充斥着静态和动态的各类影像,其中“漫画”这一历史悠久的静态造型艺术与“电视剧”这一视听结合的综合艺术逐渐在各自的发展中走向融合,在合作中互相促进,并展现出越来越大的影响力。本文所探讨的漫画改编电视剧(简称漫画改编剧)就是这两种艺术类型相结合的产物,是指根据已有的漫画作品改编而成的,运用视听结合的造型手段和真人出演为主的方式把漫画作品中的人物、情境、情节等要素经过再创造予以荧屏化的电视剧。它不仅为受众带来了更为新鲜和丰富的视觉体验,其有别于传统影视艺术“客观复制真实世界”的“趣观”原则更拓展了电视剧的艺术表现力。目前内地电视剧年产量在一万三千集左右,约占电视播出节目总量的一半。与此同时,类型单调、创新匮乏也是电视剧生产创作中的突出问题。漫画改编剧作为一种较为新颖的电视剧类型近年来越来越频繁地出现在内地荧屏上,引发了收视热潮与广泛影响,商业前景和研究空间广阔,但目前内地的相关研究仍处于相对滞后的情况。本文共分为三大部分:第一部分是关于亚洲漫画改编剧的本体研究,阐明概念和原理、归纳艺术特征;第二部分从不同角度出发,对亚洲漫画改编剧进行分类,分析各类漫画改编剧分别有何特点,以及亚洲各地在漫画改编剧领域的发展状况;第三部分则结合具体案例来探求内地漫画改编剧发展道路,力求得出富于建设性和可操作性的提议。总的来说,本文将在当今视觉文化盛行、动漫产业兴起的时代背景下,以日本、韩国、港台地区和中国内地这几个亚洲范围内电视剧生产能力和消费需求较强的国家及地区为代表,选取一些较具影响力的典型作品为范本,分析亚洲漫画改编电视剧的基本特征、主要类型和改编策略,梳理亚洲漫画改编剧的发展历程与现状,结合社会背景、受众心理、产业模式等因素来考察日韩港台漫画改编电视剧的成功之道。在参照其他国家和地区已经取得的成熟经验,客观分析中国内地此类电视剧的创作现状之后,本文得出以下结论: 就创作实践来看,内地漫画改编电视剧的数量较少,且多数为合拍剧,纯粹的本土原创作品寥寥无几;在学术研究领域,专门论述此类电视剧的文章很少,并且普遍存在以偏概全的局限性。创作与研究领域的双重滞后既有本土漫画佳作匮乏的原因,也有从业者意识落后、视野狭窄的问题。只有在明晰艺术规律、类型特征和受众需求的基础上充分发掘创造力、坚持利用民族文化资源的同时科学地借鉴他人的先进经验和优秀成果、走民族性和时代性相结合的道路,内地漫画改编剧才能打开局面,化被动为主动,创作出高品质、有特色的优秀作品。
[Abstract]:With the rapid development of visual art and digital technology, modern people's lives are full of static and dynamic images. Among them, comics, a static plastic art with a long history, and a comprehensive art of audiovisual integration of TV series, gradually converge in their respective development and promote each other in cooperation. The comic adaptation TV series discussed in this paper is the product of the combination of these two types of art, which refers to the adaptation of existing comic books. The characters, situations, plot and other elements in comic books are recreated by means of audio-visual modeling and live action. It not only brings fresh and rich visual experience to the audience, Different from the traditional art of film and television, the principle of "objective reproduction of the real world" expands the artistic expression of TV plays. At present, the annual production of TV dramas in the mainland is about 13,000, accounting for about half of the total number of TV programs broadcast. At the same time, the types of TV dramas are monotonous. Lack of innovation is also a prominent problem in the production and creation of TV dramas. Comic book writers, as a relatively new type of TV series, have appeared more and more frequently on the mainland screen in recent years, which has triggered an upsurge and widespread influence on the TV viewing. Commercial prospects and research space is broad, but the relevant research in the mainland is still relatively lagging behind. This thesis is divided into three parts: the first part is about the ontology research of Asian comic book writer, expounding the concept and principle, and inducting the artistic characteristics; the second part classifies the Asian comic book writer from different angles. It analyzes the characteristics of all kinds of comic book writers, and the development situation in the field of comic book writers in various parts of Asia. The third part explores the development path of comic book writers in the mainland by combining specific cases. Try to come up with constructive and operable proposals. In general, this article will be in the current visual culture prevailing, animation industry rise in the background of the era, to Japan, South Korea, Hong Kong, Taiwan and the mainland of China are the representatives of several countries and regions with strong production capacity and consumption demand for TV dramas in Asia. Some typical works with more influence are selected as models to analyze the basic characteristics of Asian comic-based TV dramas. Main types and adaptation strategies, combing the development process and current situation of Asian comic book writers, combining social background, audience psychology, Based on the mature experience of other countries and regions and objective analysis of the status quo of the creation of such TV dramas in the mainland of China, this paper draws the following conclusions:. From the point of view of creative practice, the number of adapted TV dramas in the mainland is relatively small, and most of them are co-productions, and there are very few purely native original works. In the field of academic research, there are very few articles devoted to such TV dramas. The dual lag in the field of creation and research is due to the lack of good local comics, the backward consciousness of practitioners and the narrow field of vision. On the basis of the characteristics of the type and the needs of the audience, we should fully explore creativity, adhere to the road of combining national and contemporary characteristics with the use of national cultural resources while scientifically learning from others' advanced experiences and outstanding achievements. Only in the mainland can the comic book writer open up the situation, turn passivity into initiative, and create excellent works of high quality and characteristics.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J905

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