本文關鍵詞：川渝方言影視劇創(chuàng)作研究　出處：《湖北民族學院》2014年碩士論文　論文類型：學位論文

  更多相關文章： 川渝方言影視劇 創(chuàng)作特色 人物形象 地域文化

【摘要】：本文立足于對川渝方言影視劇劇本內容創(chuàng)作和影視美學價值的研究。 通過對影視劇的文本分析,總結川渝方言影視劇在內容和美學價值上的特點和創(chuàng)新之處。在創(chuàng)作理念上,川渝方言影視劇一般以草根英雄為主要人物,塑造了俠骨中有如水柔情,豪氣中不乏匪氣,智慧中透出狡黠,無私中又略帶小算盤的新英雄形象。改變了傳統(tǒng)劇目中英雄人物“高大全”的扁平人物形象。正因為劇中人物性格的英雄形象,表現(xiàn)出了草根英雄們許多不為人知的“缺點”,敘述了英雄人物的成長的歷史,塑造出更讓觀眾覺得真實而容易接受的人物。在塑造人物形象上,川渝方言影視劇中,將有缺點的英雄人物搬上了熒幕,不乏一夜之間就出現(xiàn)了像“樊傻兒”、“王保長”等家喻戶曉的藝術形象的佳作。這些劇中塑造的人物形象都是個性鮮活、獨具特色,包括其中的一些配角人物如李老栓、三嫂子等也都成為20世紀八九十年代中國影視劇中極具特色和個性的影視人物群像。 影視作品的內容上,川渝方言影視劇大多反映川渝地區(qū)的野史逸事,《傻兒師長》取材于富有傳奇色彩的四川歷史人物范紹增�！蹲讯　贩从沉嗣駠鴷r期四川特殊的征兵方式。這些影視劇的當代價值在于,它深度挖掘和傳播了地方文化,豐富了影視藝術的語言表現(xiàn)力；在影視造型音樂上,注重音樂性和地域性結合,幽默風趣的人物語言與川劇這樣的地方曲藝音樂相映成趣,相得益彰,再加上場景以真實的川渝風情為背景,三者有機融合,創(chuàng)造出了一個充滿巴蜀風情的影像世界,表現(xiàn)和寄托了巴蜀人民最具普遍意義的情感與審美期待。 川渝方言影視劇的創(chuàng)作形成了自己的藝術風格并受到廣大觀眾的好評,從影視劇的人物塑造和內容題材選擇,到地方文化資源的利用以及地域文化及思想內涵的升華等方面,都從幽默風趣中傳達出一種地域的正能量,引起了社會各界的廣泛關注。 雖然目前川渝方言影視劇已經在方言影視作品中自成一派,但是進入21世紀以來,川渝方言影視劇卻沒有得到應有的長足發(fā)展。片面追求收視率、迎合三俗市場的興趣以及缺乏地域性和國際性的結合等原因,使得川渝方言影視劇走入了發(fā)展的停滯期。今天的傳媒影視研究者,很有必要通過對這種影視種類的停滯現(xiàn)象分析出原因,尋找出一條發(fā)展川渝方言影視劇的可行道路。
[Abstract]:This paper is based on the study of the content creation and the aesthetic value of film and TV drama in Sichuan and Chongqing dialect. Through the text analysis of film and television drama, this paper summarizes the characteristics and innovations of Sichuan and Chongqing dialect film and television drama in content and aesthetic value. In terms of creative concept, the main characters of Sichuan and Chongqing dialect film and television drama are grassroots heroes. Created in the chivalrous bone like water tenderness, luxury is not lack of bandits, wisdom revealed cunning. The new hero image with a little abacus in selflessness has changed the flat figure image of the hero character "tall and complete" in the traditional repertoire, which is precisely because of the hero image of the character in the play. It shows many unknown "shortcomings" of the grassroots heroes, narrates the growing history of the heroes, and shapes the characters that are more authentic and acceptable to the audience. Sichuan and Chongqing dialect film and television drama, will have shortcomings of the hero on the screen, no lack of overnight appeared like "Fan silly children." "Wang Baochang" and other well-known artistic images. These plays portray characters are fresh personality, unique, including some of the supporting characters such as Li Laoshuan. In 20th century, Sisters-in-law and other Chinese films and TV dramas were featured and individualized. On the content of film and television works, Sichuan and Chongqing dialect movies and TV plays mostly reflect the wild history of Sichuan and Chongqing. "stupid Children Division" is drawn from the legendary Sichuan historical figure Fan Shaozeng. "grasping Zhuang Ding" reflects the special recruitment methods in Sichuan during the Republic of China. The contemporary value of these films and TV plays lies in. It deeply excavates and spreads the local culture, enriches the language expression of film and television art; In the film and television modeling music, pay attention to the combination of music and regional, humorous and funny characters language and Sichuan opera such as local qu music match, complement each other, plus the scene with the real Sichuan and Chongqing customs for the background. The three have created an image world full of Bashu amorous feelings, expressing and sustenance the most universal emotion and aesthetic expectation of Bashu people. The creation of Sichuan and Chongqing dialect film and television drama formed its own artistic style and was well received by the audience from the film and television drama characters and content theme selection. To the utilization of local cultural resources and the sublimation of regional culture and ideological connotation, it conveys a kind of positive regional energy from humor and humor, which has aroused widespread concern from all walks of life. Although Sichuan and Chongqing dialect film and television drama has become a school in dialect film and television works, but since 21th century, Sichuan and Chongqing dialect film and television drama has not got its due considerable development and one-sided pursuit of ratings. Catering to the interest of the three vulgar markets and the lack of regional and international combination of other reasons, Sichuan and Chongqing dialect film and television drama has entered a stagnant period of development. Today's media film and television researchers. It is necessary to analyze the reasons for the stagnation of this kind of film and television, and find a feasible way to develop Sichuan and Chongqing dialect movies and TV dramas.
【學位授予單位】：湖北民族學院
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J905

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本文編號：1395784