大众传播语境下东北“二人转”传播形态转化研究

发布时间：2018-03-31 13:53

本文选题：二人转　切入点：语境　出处：《东北师范大学》2009年硕士论文

【摘要】： 二人转在东北地区已经有二百多年的历史,因其浓郁的泥土气息和独特的乡音乡情,深受老百姓的喜爱,被称为东北黑土地上的“山花野草”。近些年,随着东北文艺作品的火爆,二人转逐渐从农村走向城市,并从城市走向了电视荧幕。2009年中央电视台春节联欢晚会播出了小品《不差钱》,二人转演员出身的小沈阳在一夜之间火爆全国,再一次在全国范围内引起了一场“东北热”。东北二人转火爆银屏的同时也带来了巨大的问题,二人转作为一种乡土文化,其本身带有粗鄙的特点,这种粗鄙被毫无遮掩的暴露在电视屏幕上时,带来了电视节目低俗化的问题。东北二人转与电视屏幕相结合到底是喜是忧呢?本文运用电视文化学和传播学理论,以文献资料和案例分析相印证的方法,以二人转的文化特点和传播为研究对象,对东北二人转进行搜集、整理与研究,并对东北三省以东北地方文化为核心打造的电视节目进行样本分析和研究,探讨在大众传播语境下东北二人转的电视形态转化问题,为中国电视打造自己的原创电视叙事语言而寻求理论依据和实践效果。本文除导言和结语外,共分四个部分进行论述。一、对语境的界定和探讨。话语、主体性和语境是影响传播效果的三个要素,对语境的界定和探讨揭示不同的语境下二人转的传播形态,为本论文的研究打下坚实的基础。二、传统二人转的叙事方式及银幕二人转的叙事方式。二人转在产生及发展的二百多年历史中,经历了从传统到屏幕的发展。因此,对传统二人转的叙事方式及电视屏幕二人转的叙事方式的研究能够揭示二人转发展的脉络特点,探讨二人转电视形象转化的基本规律。三、从组织传播到大众传播。从传播方式的改变入手探讨东北二人转在小剧场传播形式下异常火爆的原因。四、叙事原形的延伸及二人转的美学意义。从东北民俗和信仰的历史脉络中去把握东北二人转作为近现代民俗艺术形式的发生根源,追寻二人转深远的仪式原形,对二人转进行文化阐释,揭示东北文化内在的涵义。
[Abstract]:Errenxuan has a history of more than 200 years in Northeast China. Because of its strong soil flavor and unique rural feeling, it is deeply loved by the common people, and is called "mountain flowers wild grass" on the black land of Northeast China.In recent years, with the popularity of literary and artistic works in Northeast China, Errenrou gradually moved from the countryside to the city.And from the city to the television screen. The 2009 CCTV Spring Festival Gala broadcast the short story "good money", the Erren actor born in Shenyang in one night, once again caused a nationwide "Northeast fever."At the same time, it has brought great problems. As a kind of local culture, Errenrov has its own vulgar features, which are exposed to the television screen without covering up.It brings about the problem of vulgarization of TV programs.Is it a joy or a worry to combine the two TVs with the TV screen in Northeast China?Based on the theory of television culture and communication, the paper uses the methods of literature and case analysis to collect, organize and study the cultural characteristics and communication of Errenzhuan in Northeast China.It also analyzes and studies the TV programs of the three Northeast provinces with the northeast local culture as the core, and probes into the transformation of the TV form of the Northeast Errenzhuan in the context of mass communication.Seek theoretical basis and practical effect for Chinese TV to create its own original TV narrative language.In addition to the introduction and conclusion, this article is divided into four parts.First, the definition and discussion of context.Discourse, subjectivity and context are the three factors that affect the effect of communication. The definition and exploration of context reveal the communication patterns of Errenzhuan in different contexts, which lays a solid foundation for the study of this thesis.Second, the narrative mode of the traditional two-person rotation and the screen-two-person-rotation narrative mode.In the more than 200 years history of its birth and development, Errenzhuan has experienced the development from tradition to screen.Therefore, the study of the narrative mode of the traditional and the TV screen can reveal the characteristics of the development of Errenzhuan, and probe into the basic law of the transformation of the image of Errenzhuan TV.Third, from organization to mass communication.This paper discusses the causes of the unusual popularity of the Northeast Errenzhuan in the form of small theatres from the perspective of the change of communication mode.Fourth, the extension of the original form of narrative and the aesthetic significance of the two-person rotation.From the historical context of Northeast folklore and belief, this paper tries to grasp the origin of Northeast Errenhuan as a modern folk art form, to trace the profound ritual original form of Errenhuan, to explain the culture of Errenhuan, and to reveal the inner meaning of Northeast culture.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J825

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