本文選題：青春劇 + 男性主人公的形象��； 參考：《山西大學(xué)》2013年碩士論文

【摘要】：第一章首先界定青春劇的范圍,闡釋筆者對青春劇的理解與定義。對青春劇概念的闡釋,由于研究者的切入點(diǎn)不同、論證的前提不同,所以難免出現(xiàn)見仁見智的結(jié)果,以及當(dāng)下的所謂“泛偶像劇化”的提法,都是對青春劇的誤讀。筆者著重針對以上兩點(diǎn)發(fā)現(xiàn)它們的不足、錯誤,進(jìn)而提出自己的看法。還有對青春偶像劇直接等同于青春劇的錯誤認(rèn)識筆者也將提到并糾正。論文通過對前人研究青春偶像劇與青春劇的界定概括總結(jié)之后,提出自己的看法,清楚青春劇和青春偶像劇的差異后,最終定義出青春劇的概念。并且對青春劇進(jìn)行分類,筆者在參考和結(jié)合前人對青春劇分類的研究成果的基礎(chǔ)上,增加對類型的進(jìn)一步擴(kuò)充與思考,使得青春劇的分類更加全面。第一章的第三節(jié)著重發(fā)現(xiàn)與探索新世紀(jì)之前的青春劇中男性主人公形象。在對新世紀(jì)之前的青春劇做梳理過程中筆者慢慢發(fā)現(xiàn)了這一段歷史當(dāng)中人物形象的特點(diǎn)、模式,并在總結(jié)整理的前提下與新世紀(jì)之后的人物形象進(jìn)行對比,于是在這一前一后的嬗變過程中發(fā)現(xiàn)變化。 第二章對新世紀(jì)之后青春劇中性格迥異的男性主人公的形象成為筆者分析的重點(diǎn),通過對新世紀(jì)之前的青春劇中男性主人公形象的梳理,筆者發(fā)現(xiàn)關(guān)注個體個性化,人文主義,理性主義的思想在國人的思維意識中越來越強(qiáng),這種思想尤其是被編劇導(dǎo)演體現(xiàn)在影視作品當(dāng)中,使得男性主人公的形象都顯得豐滿、厚實(shí)而且富有精神新質(zhì)與審美元素,正是這些精神新質(zhì)與審美元素形成了當(dāng)代青春劇的精神內(nèi)核,使得青春劇煥發(fā)出前所未有的思想光芒。這些精神新質(zhì)與審美元素就是青春劇嬗變出的美麗果實(shí)也是筆者重點(diǎn)談?wù)摰膶ο蟆?第三章首先是對青春劇男性主人公形象嬗變的思考,同時發(fā)現(xiàn)青春劇目前存在的一些問題,當(dāng)然也提出筆者認(rèn)為的一些解決方法,最后就是對青春劇宏觀的展望,不僅希望青春劇可以堅(jiān)持“本土化”發(fā)展戰(zhàn)略,同時也可以參與國際化的競爭,這更是對中國影視劇的希冀。
[Abstract]:The first chapter defines the scope of youth drama, explains the author's understanding and definition of youth drama. The interpretation of the concept of youth drama, due to the different breakthrough point of the researcher, the premise of the argument is different, so it is inevitable to have different results, as well as the current so-called "pan-idol drama" of the formulation, are misreading of youth drama. The author focuses on the above two points to find their shortcomings, errors, and then put forward their own views. The author will also mention and correct the false understanding that youth idol drama is directly equivalent to youth drama. After summing up the previous studies on the definition of youth idol drama and youth drama, the paper puts forward its own views, makes clear the difference between youth drama and youth idol drama, and finally defines the concept of youth drama. And on the basis of the classification of youth drama, the author makes the classification of youth drama more comprehensive, on the basis of referring to and combining the previous research results of the classification of youth drama, to increase the further expansion and thinking of the types. The third section of the first chapter focuses on discovering and exploring the characters of male protagonists in the youth drama before the new century. In the process of combing the youth dramas before the new century, the author slowly discovered the characteristics and patterns of the characters in this period of history, and compared them with the figures after the new century on the premise of summing up and arranging. Thus, changes were discovered in the course of this evolution. The second chapter focuses on the image of the male protagonist in the youth drama after the new century. By combing the image of the male protagonist in the youth drama before the new century, the author finds that he pays close attention to individual personality and humanism. Rationalism is becoming more and more powerful in Chinese people's thinking consciousness. This kind of thought is embodied in film and television works by writers and directors, which makes the images of the male protagonists appear plump, thick and full of spiritual new quality and aesthetic elements. It is these new spiritual qualities and aesthetic elements that form the spiritual core of contemporary youth drama and make it radiate with unprecedented thought. These new spiritual qualities and aesthetic elements are the beautiful fruits of the evolution of youth drama and the object of my discussion. The third chapter first is to the youth drama male hero image evolution ponder, at the same time discovers the youth drama present existence some questions, certainly also proposed the author to think some solution, finally is to the youth drama macroscopic prospect, It is not only hoped that the youth drama can adhere to the development strategy of "localization", but also can participate in the international competition, which is the hope of the Chinese film and television drama.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 隋巖;試論當(dāng)代電視的大眾文化特征[J];當(dāng)代電視;2002年06期

2 周睿;新人文劇對古典文學(xué)傳統(tǒng)的吸納——以電視劇《似水年華》為例[J];當(dāng)代文壇;2005年05期

3 楊曉林;;論中國青春勵志電視劇的創(chuàng)作——以《奮斗》為例[J];電影文學(xué);2010年04期

4 唐峰;;淺析內(nèi)地青春偶像劇的新探索——看《奮斗》、《我的青春誰做主》[J];電影評介;2010年04期

5 祁麗麗;;陜北民歌之于《血色浪漫》——淺析陜北民歌在《血色浪漫》中的作用[J];電影評介;2010年05期

6 李立林;;從修辭學(xué)角度看漢語方言的特色與差異[J];電影評介;2010年05期

7 方曙;;一代人的浪漫 個人化的記憶——評長篇小說《血色浪漫》[J];阜陽師范學(xué)院學(xué)報(bào)(社會科學(xué)版);2006年06期

8 秦穎;從類型電視劇角度來看偶像劇[J];中國廣播電視學(xué)刊;2004年05期

9 茹燕玲;;《血色浪漫》的詩性特質(zhì)[J];考試周刊;2009年36期

10 李曉琳;李福生;;由日劇引發(fā)的電視劇“本土化”思考[J];科學(xué)之友;2010年15期

相關(guān)碩士學(xué)位論文 前8條

1 羅見聞;中國內(nèi)地青春偶像劇研究[D];南京航空航天大學(xué);2011年

2 謝建華;論都市言情劇的審美范式[D];南京師范大學(xué);2005年

3 李芳;青春偶像劇的狂歡與迷茫[D];南昌大學(xué);2006年

4 王勁怡;都市平民題材電視劇敘事策略研究[D];內(nèi)蒙古師范大學(xué);2008年

5 孫曉慶;中國大陸青春劇形態(tài)分析[D];中國藝術(shù)研究院;2009年

6 康永斌;新世紀(jì)戰(zhàn)爭題材電視劇英雄人物形象的嬗變[D];河北大學(xué);2009年

7 于淑娟;新歷史主義視閾中的國產(chǎn)青春偶像劇[D];蘭州大學(xué);2010年

8 江曉菲;青春偶像劇的語言學(xué)研究[D];安徽大學(xué);2012年

，

本文編號：2054218