“天涯共此时—台海记忆”叙事艺术研究
发布时间：2018-09-14 18:21
【摘要】：本文以电视叙事学等理论对中央电视台中文国际频道播出的访谈类电视节目《天涯共此时》台海记忆系列节目(以下简称“台海记忆”)的艺术特色进行研究。区别于已有研究中把访谈节目与其他电视节目类型一概而论的叙事研究方法,本文在充分把握访谈类电视节目自身的特质以及其所具有的电视叙事艺术的基础上,分析“台海记忆”的故事建构、电视对话以及电视策略三大叙事艺术特色,以期深化访谈节目的研究。本文以“台海记忆”自2013年7月30日首播、至2016年9月30日播出终止共177期节目为总样本,重点研究其中的30期节目。围绕节目“对话者——传者和受者”、“对话内容——信息及效果”、“对话方式——媒介”三大叙事主体,对该系列节目的叙事建构、对话分析、叙事时空三部分进行具体论述。本文的研究主要包括以下三个部分:第一部分研究台海记忆系列节目的故事性叙事特征,以及作为电视访谈节目的故事建构特色。对以人物为中心建构的故事中的“中心话语”作用、以事件为中心建构的故事中事件的情节扩展手段进行区分研究。区分人物“中心话语”中“亲历者”与“知情人”在叙事话语中的不同特点;分析“台海记忆”注重对事件情节扩展的三种建构手段,即顺序性要素“统首尾”;联结性要素“设悬念”;对比性要素“定节奏”的结构要素特征。第二部分将电视传播学的基本理论与巴赫金的对话理论结合起来进行研究,论述台海记忆系列节目由故事性向对话性转变的叙事艺术特征,分析对话关系与“传——受”关系的对等因素,从电视叙事学研究新的视阈确定“台海记忆”的叙事主体,并把对各个叙事主体之间关系的探讨集中于“对话视角”来进行分析。第三部分是对“台海记忆”的时空叙事特色进行论述,突出分析了四个主要特征:第一,以开头为重的叙事时间:提出了“故事的话语时间短于故事时间”的观点;第二,“内外共构”的叙事空间:对“台海记忆”“内外共构”的空间叙事及特征进行研究;第三,分析了“台海记忆”重构历史话语的特色;第四,从“对话观众”的角度研究“台海记忆”的叙事策略,即个性命题到他人话语。分析了“台海记忆”的对话立场、栏目定位对成功实现对话历史、对话观众的策略。
[Abstract]:Based on the theory of television narratology, this paper studies the artistic characteristics of the interview TV program "I > Taiwan Sea memory Series" (hereinafter referred to as "Taiwan Sea memory"), which is broadcast by CCTV's Chinese International Channel. Different from the narrative research methods which generalize the types of interview programs and other TV programs in previous studies, this paper fully grasps the characteristics of interview TV programs and their TV narrative art. This paper analyzes the story construction, TV dialogue and TV strategy of "memory of the Taiwan Strait", in order to deepen the research of the talk program. In this paper, a total of 177 episodes of Taiwan Strait memory were selected as the total sample from the first broadcast on July 30, 2013 to the end of the broadcast on September 30, 2016. The study focuses on 30 of the programs. Focusing on the three main narrative subjects of the program "Dialog-communicator and receiver", "Dialogue Content-Information and effect" and "Dialogue Mode-Media", the narrative construction and dialogue analysis of the series are made. Three parts of narrative time and space are discussed in detail. The research of this paper mainly includes the following three parts: the first part studies the narrative characteristics of the Taiwan Strait memory series and the characteristics of story construction as a TV interview program. This paper distinguishes between the role of "central discourse" in the story centered on characters and the plot expansion means of events in the story with event as the center. This paper distinguishes the different characteristics of "experienced person" and "insider" in the narrative discourse of the characters in "central discourse", analyzes the three constructive means of "Taiwan Strait memory" focusing on the expansion of the event plot, that is, the sequential element "unifying the first and the last"; The connective element is suspense, the contrastive element is fixed rhythm. The second part combines the basic theory of television communication with Bakhtin's dialogue theory, and discusses the narrative art characteristics of the Taiwan Strait memory series changing from story to dialogue. This paper analyzes the equivalent factors between the relationship of dialogue and the relationship between "transmission and receiving", and determines the narrative subject of "Taiwan Strait memory" from the new perspective of television narratology. The relationship between the narrative subjects is analyzed from the perspective of dialogue. In the third part, the author discusses the space-time narrative characteristics of the memory of the Taiwan Strait, and analyzes four main characteristics: first, the narrative time with the beginning as the main point of view: the viewpoint that "the discourse time of the story is shorter than the story time"; the second part, the conclusion that the discourse time of the story is shorter than the time of the story is put forward. The narrative space of "internal and external co-construction": a study of the spatial narration and characteristics of "memory of the Taiwan Strait" and "internal and external co-construction"; third, the analysis of the characteristics of the reconstruction of historical discourse in "memory of the Taiwan Strait"; fourth, From the perspective of dialogue audience, this paper studies the narrative strategy of memory in the Taiwan Strait, that is, personality proposition to other people's discourse. This paper analyzes the dialogue stand of "Taiwan Strait memory", and the strategy of column orientation to the successful realization of dialogue history and dialogue audience.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：G222
本文编号：2243504
[Abstract]:Based on the theory of television narratology, this paper studies the artistic characteristics of the interview TV program "I > Taiwan Sea memory Series" (hereinafter referred to as "Taiwan Sea memory"), which is broadcast by CCTV's Chinese International Channel. Different from the narrative research methods which generalize the types of interview programs and other TV programs in previous studies, this paper fully grasps the characteristics of interview TV programs and their TV narrative art. This paper analyzes the story construction, TV dialogue and TV strategy of "memory of the Taiwan Strait", in order to deepen the research of the talk program. In this paper, a total of 177 episodes of Taiwan Strait memory were selected as the total sample from the first broadcast on July 30, 2013 to the end of the broadcast on September 30, 2016. The study focuses on 30 of the programs. Focusing on the three main narrative subjects of the program "Dialog-communicator and receiver", "Dialogue Content-Information and effect" and "Dialogue Mode-Media", the narrative construction and dialogue analysis of the series are made. Three parts of narrative time and space are discussed in detail. The research of this paper mainly includes the following three parts: the first part studies the narrative characteristics of the Taiwan Strait memory series and the characteristics of story construction as a TV interview program. This paper distinguishes between the role of "central discourse" in the story centered on characters and the plot expansion means of events in the story with event as the center. This paper distinguishes the different characteristics of "experienced person" and "insider" in the narrative discourse of the characters in "central discourse", analyzes the three constructive means of "Taiwan Strait memory" focusing on the expansion of the event plot, that is, the sequential element "unifying the first and the last"; The connective element is suspense, the contrastive element is fixed rhythm. The second part combines the basic theory of television communication with Bakhtin's dialogue theory, and discusses the narrative art characteristics of the Taiwan Strait memory series changing from story to dialogue. This paper analyzes the equivalent factors between the relationship of dialogue and the relationship between "transmission and receiving", and determines the narrative subject of "Taiwan Strait memory" from the new perspective of television narratology. The relationship between the narrative subjects is analyzed from the perspective of dialogue. In the third part, the author discusses the space-time narrative characteristics of the memory of the Taiwan Strait, and analyzes four main characteristics: first, the narrative time with the beginning as the main point of view: the viewpoint that "the discourse time of the story is shorter than the story time"; the second part, the conclusion that the discourse time of the story is shorter than the time of the story is put forward. The narrative space of "internal and external co-construction": a study of the spatial narration and characteristics of "memory of the Taiwan Strait" and "internal and external co-construction"; third, the analysis of the characteristics of the reconstruction of historical discourse in "memory of the Taiwan Strait"; fourth, From the perspective of dialogue audience, this paper studies the narrative strategy of memory in the Taiwan Strait, that is, personality proposition to other people's discourse. This paper analyzes the dialogue stand of "Taiwan Strait memory", and the strategy of column orientation to the successful realization of dialogue history and dialogue audience.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：G222
【参考文献】
相关期刊论文 前4条
1 王今;;论海登·怀特《后现代历史叙事学》中的历史诗性话语[J];南方论刊;2017年01期
2 施旭升;;广播电视艺术传播“传—受”关系论[J];现代传播(中国传媒大学学报);2010年12期
3 詹庆生;;中国电视谈话节目研究综述(1994-2005)[J];电视研究;2005年12期
4 汪骢;;与时俱进保持特色——中央电视台《天涯共此时》创作历程考察[J];对外大传播;2005年03期
相关博士学位论文 前1条
1 郑大群;女性电视叙事研究[D];四川大学;2006年
相关硕士学位论文 前10条
1 李云梓;电视访谈节目《天涯共此时》的会话分析[D];山东师范大学;2015年
2 陈雅舟;文化历史类科教电视节目叙事策略研究[D];山东师范大学;2013年
3 黄璐;央视《看见》栏目的叙事艺术研究[D];湖南师范大学;2013年
4 张佳;“对话理论”视角下的电视谈话节目研究[D];东北师范大学;2011年
5 孔祥静;中国电视谈话节目叙事研究[D];南京师范大学;2007年
6 杨冬梅;影视叙事研究[D];兰州大学;2007年
7 吕晴春;电视谈话节目的叙事学研究[D];暨南大学;2006年
8 屈丹;故事类谈话节目叙事研究[D];四川大学;2006年
9 夏颖;论叙事类电视谈话节目的故事建构[D];华中科技大学;2004年
10 周颖;电视叙事理论刍议[D];厦门大学;2001年
，本文编号：2243504
本文链接：https://www.wllwen.com/xinwenchuanbolunwen/2243504.html
