中国穿越剧研究
发布时间：2018-08-04 09:58
【摘要】：近年来，《神话》、《宫锁心玉》（又称《宫》）、《步步惊心》等电视剧在开播之后都有很高的收视率，这些电视剧大多以穿越时空为形式展开剧情。本文主要是对这些穿越剧及之前的《寻秦记》和《穿越时空的爱恋》进行综合研究和探索。 穿越剧是最近才兴起的一个新型剧种。近年来在学术界也刚刚引起一些关注。在穿越剧中，穿越只是形式，但就是这一形式才联系着多种剧情，贯穿始终，成为全剧的叙事线索。 国内现有的对穿越剧的研究只处于表面的探讨，以期刊、报纸对某部具体的作品评论为主，多在对穿越剧是好还是坏的争论上，缺乏较为深入、系统的理论研究，将穿越剧作为一个新型剧种进行全面研究的成果并不多见。学术界缺少对穿越剧的理论指导和引领，这对于穿越剧的长远发展来讲是不利的。中国穿越剧的发展刚刚起步，已有的一些穿越剧在人物形象的塑造和情景制造方面已经取得了比较显著的成绩，也已形成了较好的市场基础。可以预期，穿越剧在未来应该有很大的市场拓展空间。 穿越剧用想象为大众编织了一个美丽的梦，在这个梦中融合了各种题材，用种种新奇推动着剧情的发展。成长中的穿越剧需要在吸引更多观众的同时，也因为内容肤浅、娱乐历史等原因而遭致批判。后现代主义认为，电视剧文化是一种消解深度的后现代文化。电视剧制造商追求经济效益，将电视剧的艺术创造变为机械复制，缺少创造性，这使得穿越剧陷入了创新的僵局中。 本文前言包括两部分的内容，穿越剧的命名和形成背景。正文部分由三个章节展开分析。第一章从穿越剧流行的社会因素、作品因素和市场因素进行分析穿越剧流行的原因。第二章从消费文化和娱乐文化讲述了穿越剧所体现的后现代文化内涵。第三章将探析中国穿越剧的局限，从与国外的穿越剧的比较、模式化特点以及价值观等三个方面进行展开。 结语将从题材、文化内涵以及模式突破方面分析穿越剧的未来趋势。
[Abstract]:In recent years, "Myth", "Palace lock heart jade" (also known as "palace >)," step by step "and so on TV series have very high ratings after the start of broadcasting, most of these TV dramas through time and space as the form of the plot. This paper mainly focuses on the comprehensive research and exploration of these traversing dramas and their previous stories of Qin Ji and Love through time and Space. Traversing drama is a new type of drama that has just arisen recently. In recent years in the academic community has just aroused some concern. In the traversing drama, traversing is only a form, but it is this form that is connected with a variety of plots and runs through all the time, becoming the narrative clue of the whole play. The current research on traversing drama in China is only superficial, mainly in periodicals and newspapers commenting on a specific work, mostly in the debate on whether the traversing drama is good or bad, lacking of deep and systematic theoretical research. The achievement of comprehensive research on traversing drama as a new type of drama is rare. The lack of theoretical guidance and guidance for traversing drama in academic circles is unfavorable to the long-term development of traversing drama. The development of traversing drama in China has just started. Some of the traversing dramas have already made remarkable achievements in the creation of characters and scenes, and have also formed a good market foundation. It can be expected that traversing drama in the future should have a large market expansion space. Traversing drama uses imagination to weave a beautiful dream for the masses, in this dream a combination of various themes, with a variety of novelty to promote the development of the plot. The growing traversing drama needs to attract more viewers and be criticized for its superficial content and entertainment history. Postmodernism holds that TV play culture is a kind of post-modern culture. TV series manufacturers pursue economic benefits, turn the artistic creation of TV series into mechanical reproduction, lack of creativity, which makes the traversing drama into an innovative deadlock. The preface of this paper includes two parts, the naming and forming background of the traversing drama. The body part is analyzed by three chapters. The first chapter analyzes the reasons of the popularity of traversing drama from social factors, work factors and market factors. The second chapter narrates the postmodern culture connotation of traversing drama from consumer culture and entertainment culture. The third chapter will explore the limitations of Chinese traversing drama from three aspects: comparison with foreign traversing dramas, stylized characteristics and values. The conclusion will analyze the future trend of traversing drama from the aspects of theme, cultural connotation and mode breakthrough.
【学位授予单位】：西北师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J825
本文编号：2163508
[Abstract]:In recent years, "Myth", "Palace lock heart jade" (also known as "palace >)," step by step "and so on TV series have very high ratings after the start of broadcasting, most of these TV dramas through time and space as the form of the plot. This paper mainly focuses on the comprehensive research and exploration of these traversing dramas and their previous stories of Qin Ji and Love through time and Space. Traversing drama is a new type of drama that has just arisen recently. In recent years in the academic community has just aroused some concern. In the traversing drama, traversing is only a form, but it is this form that is connected with a variety of plots and runs through all the time, becoming the narrative clue of the whole play. The current research on traversing drama in China is only superficial, mainly in periodicals and newspapers commenting on a specific work, mostly in the debate on whether the traversing drama is good or bad, lacking of deep and systematic theoretical research. The achievement of comprehensive research on traversing drama as a new type of drama is rare. The lack of theoretical guidance and guidance for traversing drama in academic circles is unfavorable to the long-term development of traversing drama. The development of traversing drama in China has just started. Some of the traversing dramas have already made remarkable achievements in the creation of characters and scenes, and have also formed a good market foundation. It can be expected that traversing drama in the future should have a large market expansion space. Traversing drama uses imagination to weave a beautiful dream for the masses, in this dream a combination of various themes, with a variety of novelty to promote the development of the plot. The growing traversing drama needs to attract more viewers and be criticized for its superficial content and entertainment history. Postmodernism holds that TV play culture is a kind of post-modern culture. TV series manufacturers pursue economic benefits, turn the artistic creation of TV series into mechanical reproduction, lack of creativity, which makes the traversing drama into an innovative deadlock. The preface of this paper includes two parts, the naming and forming background of the traversing drama. The body part is analyzed by three chapters. The first chapter analyzes the reasons of the popularity of traversing drama from social factors, work factors and market factors. The second chapter narrates the postmodern culture connotation of traversing drama from consumer culture and entertainment culture. The third chapter will explore the limitations of Chinese traversing drama from three aspects: comparison with foreign traversing dramas, stylized characteristics and values. The conclusion will analyze the future trend of traversing drama from the aspects of theme, cultural connotation and mode breakthrough.
【学位授予单位】：西北师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J825
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