中國(guó)諜戰(zhàn)題材電視劇敘事策略分析
發(fā)布時(shí)間：2019-01-22 20:38
【摘要】：伴隨著中國(guó)電視劇高漲的發(fā)展態(tài)勢(shì)，諜戰(zhàn)劇的熱播浪潮也是一波接著一波，許多優(yōu)秀的諜戰(zhàn)劇作品相繼出現(xiàn)，在道德缺失、信仰迷失的當(dāng)代社會(huì)，主打信仰牌的諜戰(zhàn)劇在當(dāng)代這樣一個(gè)大背景之下受到了觀眾的喜愛(ài)。當(dāng)諜戰(zhàn)英雄們堅(jiān)定的信仰和為理想執(zhí)著的精神在熒幕上呈現(xiàn)的時(shí)候，很大程度上引發(fā)了人們對(duì)歷史的重新審視和對(duì)信仰的追求,在一段歷史的沉淀之下，人們開(kāi)始思考，諜戰(zhàn)劇的受眾開(kāi)始思考，開(kāi)始思考關(guān)于歷史，關(guān)于人性，關(guān)于諜戰(zhàn)劇所映射的受眾本身。在這個(gè)過(guò)程之中，諜戰(zhàn)劇的受眾群開(kāi)始發(fā)生了變化，諜戰(zhàn)劇受眾在一定程度上呈現(xiàn)出多元化的特征，在市場(chǎng)經(jīng)濟(jì)發(fā)展的今天，諜戰(zhàn)劇多年的實(shí)踐表明，在諜戰(zhàn)劇發(fā)展經(jīng)歷了一個(gè)歷史流變的過(guò)程和逐步趨于成熟之后，諜戰(zhàn)劇的制作、傳播和接受也相對(duì)發(fā)生了變化，開(kāi)始逐漸形成較為完善的體系。諜戰(zhàn)劇逐漸成為觀眾習(xí)慣并且喜愛(ài)的一個(gè)劇種。所以在這樣一個(gè)時(shí)期之下，諜戰(zhàn)劇也成為創(chuàng)作者們爭(zhēng)相追捧的一個(gè)劇種。在這樣的市場(chǎng)環(huán)境這個(gè)有力的平臺(tái)之下，諜戰(zhàn)劇形成了較為完整的類型體系，在這個(gè)體系之下，諜戰(zhàn)劇的類型特征也逐漸的明確化，這為諜戰(zhàn)劇成為成熟的類型片提供了重要的條件。 本文將從中國(guó)諜戰(zhàn)作品的發(fā)展歷程中總結(jié)規(guī)律，對(duì)諜戰(zhàn)劇的前生做一個(gè)簡(jiǎn)單的介紹，以方便之后的論述，借此對(duì)諜戰(zhàn)劇的發(fā)展做一個(gè)概況的瀏覽和特征的總結(jié)，另外在結(jié)合當(dāng)下熱播諜戰(zhàn)劇具體的文本作一定的案例分析，主要運(yùn)用敘事學(xué)的相關(guān)理論為指導(dǎo)，但因?yàn)橛脭⑹聦W(xué)對(duì)諜戰(zhàn)劇的研究成果已經(jīng)相對(duì)比較多，所以在不脫離主題的前提下，我希望能夠?qū)⒄檻?zhàn)劇放到一個(gè)相對(duì)開(kāi)放的空間中，結(jié)合市場(chǎng)、文化、意識(shí)形態(tài)等。利用影視美學(xué)、影視心理學(xué)以及影視受眾學(xué)等相關(guān)的理論為指導(dǎo)，結(jié)合當(dāng)下已有的諜戰(zhàn)劇理論，站在巨人的肩膀上，總結(jié)諜戰(zhàn)題材電視劇的敘事策略，分析諜戰(zhàn)題材電視劇涌現(xiàn)的新思考、新特點(diǎn)和新風(fēng)潮，并且力圖去尋找形成這些新特征、新風(fēng)潮的原因。從原因入手去分析諜戰(zhàn)劇類型化得可能性。希望這樣的研究能對(duì)我國(guó)的諜戰(zhàn)劇理論研究和實(shí)際創(chuàng)作有所幫助。本文的大致脈絡(luò)和框架主要是以下三個(gè)方面： 一、首先通過(guò)對(duì)我國(guó)諜戰(zhàn)題材作品的發(fā)展歷程的一個(gè)簡(jiǎn)單的敘述，對(duì)每個(gè)時(shí)期的代表作及敘事的特征做一定的敘述之后，重點(diǎn)進(jìn)入到當(dāng)代諜戰(zhàn)劇的特征，，分析在當(dāng)下此類電視劇興起繁榮的主要原因。并且回顧它的歷史發(fā)展脈絡(luò)，從而對(duì)現(xiàn)在的此類電視劇的某些特征做個(gè)總結(jié)，綜合原有的一些研究，分析諜戰(zhàn)劇的一些基本的敘事，通過(guò)這些基本的敘事找到能令諜戰(zhàn)劇長(zhǎng)足發(fā)展的特點(diǎn)特征，并且在此基礎(chǔ)上做一些擴(kuò)充。在很多方面可以總結(jié)出很多諜戰(zhàn)劇發(fā)展歷程中好的方面和存在不足的地方，以此來(lái)取長(zhǎng)補(bǔ)短，達(dá)到對(duì)未來(lái)此類型電視劇的指導(dǎo)作用，避免再出現(xiàn)同類型的問(wèn)題。 二、從影視敘事學(xué)理論出發(fā)，諜戰(zhàn)劇說(shuō)到底是在講一個(gè)故事，那么講故事就需要敘事，敘事有很多的方法和手段，那么當(dāng)下諜戰(zhàn)題材電視劇的敘事策略是什么呢？諜戰(zhàn)劇是怎么將靈活的敘事策略應(yīng)用到自己的敘事中并未自己服務(wù)呢？所以本文從各方面來(lái)分析諜戰(zhàn)劇在敘事策略方面的基本原則以及當(dāng)下諜戰(zhàn)劇在敘事策略上的創(chuàng)新之處。而且通過(guò)對(duì)諜戰(zhàn)劇敘事藝術(shù)的分析來(lái)總結(jié)一些諜戰(zhàn)劇類型化的一些元素。首先是通過(guò)總結(jié)回顧一些諜戰(zhàn)劇，歸納出它們共有的敘事系統(tǒng)，其實(shí)這些基本的敘事系統(tǒng)某種程度上就可以當(dāng)做是諜戰(zhàn)劇的類型元素。在此基礎(chǔ)上再去擴(kuò)充，力圖找到它們的新的突破口。 三、對(duì)當(dāng)下受眾心理和市場(chǎng)環(huán)境做一個(gè)分析，總結(jié)出諜戰(zhàn)劇熱播的原因，希望借此能夠找到最能吸引受眾，贏得市場(chǎng)的諜戰(zhàn)劇敘事策略。在分析受眾的時(shí)候把民族性和社會(huì)心態(tài)變遷的大背景加入辨析。對(duì)于如諜戰(zhàn)劇這樣的文化產(chǎn)品，更新的速度是非�？斓�，我們期望未來(lái)諜戰(zhàn)劇能夠作為一種較為成熟的類型劇走產(chǎn)業(yè)化的發(fā)展道路，但是又不能走偏，所以，回顧諜戰(zhàn)劇的歷史是為了總結(jié)諜戰(zhàn)劇自身必須堅(jiān)守的敘事原則，以保證諜戰(zhàn)劇的質(zhì)量。但是，在激烈的市場(chǎng)競(jìng)爭(zhēng)和多元的受眾需求形勢(shì)下，諜戰(zhàn)劇的創(chuàng)作中也出現(xiàn)了很多的問(wèn)題，從總體上來(lái)說(shuō)，諜戰(zhàn)劇的精品作品或者說(shuō)是經(jīng)典的諜戰(zhàn)劇作品數(shù)量還不是那么充足。那么諜戰(zhàn)劇要想真正意義上叫好又叫座就必將尋求創(chuàng)新，那么這種創(chuàng)新就需要經(jīng)驗(yàn)總結(jié)給予支撐，通過(guò)對(duì)優(yōu)秀諜戰(zhàn)劇或較為優(yōu)秀的諜戰(zhàn)劇創(chuàng)作的分析，總結(jié)此類電視劇發(fā)展中文化的建構(gòu)、市場(chǎng)引導(dǎo)和宣傳報(bào)道的操作方式和方法。
[Abstract]:With the development of the upsurge of Chinese TV series, the hot-broadcasting wave of the war play is also a wave of the next wave, and many excellent anti-war plays have emerged successively, and in the modern society of the lack of morality and the loss of faith, The battle play of the master's faith card has been loved by the audience in such a big background. When the strong faith of the heroes of the war and the spirit of the ideal obsession are presented on the screen, a great degree of people's re-examination of the history and the pursuit of the belief, under a history of the precipitation, people begin to think, the audience of the war play begins to think, Start thinking about history, about human nature, and the audience itself that is mapped to the war play. In this process, the audience group of the war play has changed, and the audience of the war play has a certain degree of diversity, and in the present day of the development of the market economy, the multi-year practice of the anti-war drama has shown that, After the development of the anti-war play has experienced a process of historical change and the gradual maturity, the production, dissemination and acceptance of the war play has also changed, and a more complete system has been gradually formed. The drama of the war gradually became the habit of the audience and loved one of the plays. So, in such a period, the drama of the war is also a kind of play that the authors are competing for. Under such a powerful platform, the battle play has formed a more complete type of system. Under this system, the type characteristics of the war play are also gradually clarified, which provides important conditions for the mature type of the battle play. This paper will draw a brief introduction to the former life of the war play from the development of China's anti-war work, so as to make a brief introduction to the front-generation of the war play, so as to make an overview of the development of the war play. In addition, some case analysis is made on the specific text of the present heat-broadcasting drama, which is guided by the related theories of the narratology, but because the research results of the drama are relatively large in the narratology, on the premise of not going away from the subject matter Next, I would like to be able to put the battle play in a relatively open space, in combination with the market, culture, ideology, This paper, based on the theories of film and film aesthetics, film and television psychology and the theory of film and television audience, is based on the existing theory of the drama and drama, and then, on the shoulders of the giant, summarizes the narrative strategy of the drama series, and analyzes the new thinking, the new features and the fresh air emerging from the drama series. The tide, and trying to look for the formation of these new features, the new wave of the former On the Cause of............................................................. It is hoped that such a study can help the theoretical research and practical creation of China's anti-war play theory. The general context and framework of this paper are the following three parties: On the other hand, through a brief account of the development of the works of the Chinese War of War, the author has made a description of the characteristics of the works and the narrative of each period, and then the emphasis has been given to the contemporary drama. characterized by an analysis of the flourishing of this type of television series For the reason, and to review its history and development, so as to make a summary of some of the features of such TV series, to synthesize some of the original research, to analyze some of the basic narrative of the drama, and to find the way to make the drama of the Republic of China great development through these basic narrative. point-of-point feature, and on this basis, do one In many ways, we can sum up some of the good aspects and the shortcomings of the development of the drama series, so as to make the long and short, to achieve the guidance of this type of TV series, and to avoid the same type. The second, from the theory of the film and television narratology, the drama of the war is about a story, then the storytelling needs to be narrated, the narrative has a lot of methods and means, then the narrative strategy of the present-time drama series What is a little bit? The drama is how to apply a flexible narrative strategy to its own narrative So this article analyzes the basic principles of the drama in the narrative strategy and the present-time drama in the narrative strategy. At the same time, through the analysis of the narrative art of the war play, the paper summarizes some types of the war play. Some of the elements. First of all, through a summary of some of the narrative systems, these basic narrative systems can be considered as a war play. The elements of the type. On this basis, expand, and try to find them. Based on the analysis of the current audience's psychology and the market environment, this paper summarizes the reasons of the hot sowing of the war play, and hopes to find the most attractive audience and win the market. The narrative strategy of the anti-war play. The change of the nationality and the social psychology is changed in the analysis of the audience. It is very fast to update the speed of the update for cultural products such as the Battle of the Republic of China, and we expect the future battle play to take the development path of industrialization as a more mature type of play, but also As a result, the history of the war play is to sum up the narrative principles that must be adhered to by the drama itself, to protect However, in the fierce market competition and the diverse audience demand, there are many problems in the creation of the war play. In general, the fine works of the war play, or the number of works of the classical anti-war play, have also appeared. It's not that sufficient. So, if the battle play is to really make sense and call for innovation, then this innovation will need to be summarized and supported, and this kind of TV play can be summarized through the analysis of the outstanding battle play or the outstanding performance of the war play. The construction of the culture in the exhibition, the guidance and the publicity of the market.
【學(xué)位授予單位】：云南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905
本文編號(hào)：2413546
[Abstract]:With the development of the upsurge of Chinese TV series, the hot-broadcasting wave of the war play is also a wave of the next wave, and many excellent anti-war plays have emerged successively, and in the modern society of the lack of morality and the loss of faith, The battle play of the master's faith card has been loved by the audience in such a big background. When the strong faith of the heroes of the war and the spirit of the ideal obsession are presented on the screen, a great degree of people's re-examination of the history and the pursuit of the belief, under a history of the precipitation, people begin to think, the audience of the war play begins to think, Start thinking about history, about human nature, and the audience itself that is mapped to the war play. In this process, the audience group of the war play has changed, and the audience of the war play has a certain degree of diversity, and in the present day of the development of the market economy, the multi-year practice of the anti-war drama has shown that, After the development of the anti-war play has experienced a process of historical change and the gradual maturity, the production, dissemination and acceptance of the war play has also changed, and a more complete system has been gradually formed. The drama of the war gradually became the habit of the audience and loved one of the plays. So, in such a period, the drama of the war is also a kind of play that the authors are competing for. Under such a powerful platform, the battle play has formed a more complete type of system. Under this system, the type characteristics of the war play are also gradually clarified, which provides important conditions for the mature type of the battle play. This paper will draw a brief introduction to the former life of the war play from the development of China's anti-war work, so as to make a brief introduction to the front-generation of the war play, so as to make an overview of the development of the war play. In addition, some case analysis is made on the specific text of the present heat-broadcasting drama, which is guided by the related theories of the narratology, but because the research results of the drama are relatively large in the narratology, on the premise of not going away from the subject matter Next, I would like to be able to put the battle play in a relatively open space, in combination with the market, culture, ideology, This paper, based on the theories of film and film aesthetics, film and television psychology and the theory of film and television audience, is based on the existing theory of the drama and drama, and then, on the shoulders of the giant, summarizes the narrative strategy of the drama series, and analyzes the new thinking, the new features and the fresh air emerging from the drama series. The tide, and trying to look for the formation of these new features, the new wave of the former On the Cause of............................................................. It is hoped that such a study can help the theoretical research and practical creation of China's anti-war play theory. The general context and framework of this paper are the following three parties: On the other hand, through a brief account of the development of the works of the Chinese War of War, the author has made a description of the characteristics of the works and the narrative of each period, and then the emphasis has been given to the contemporary drama. characterized by an analysis of the flourishing of this type of television series For the reason, and to review its history and development, so as to make a summary of some of the features of such TV series, to synthesize some of the original research, to analyze some of the basic narrative of the drama, and to find the way to make the drama of the Republic of China great development through these basic narrative. point-of-point feature, and on this basis, do one In many ways, we can sum up some of the good aspects and the shortcomings of the development of the drama series, so as to make the long and short, to achieve the guidance of this type of TV series, and to avoid the same type. The second, from the theory of the film and television narratology, the drama of the war is about a story, then the storytelling needs to be narrated, the narrative has a lot of methods and means, then the narrative strategy of the present-time drama series What is a little bit? The drama is how to apply a flexible narrative strategy to its own narrative So this article analyzes the basic principles of the drama in the narrative strategy and the present-time drama in the narrative strategy. At the same time, through the analysis of the narrative art of the war play, the paper summarizes some types of the war play. Some of the elements. First of all, through a summary of some of the narrative systems, these basic narrative systems can be considered as a war play. The elements of the type. On this basis, expand, and try to find them. Based on the analysis of the current audience's psychology and the market environment, this paper summarizes the reasons of the hot sowing of the war play, and hopes to find the most attractive audience and win the market. The narrative strategy of the anti-war play. The change of the nationality and the social psychology is changed in the analysis of the audience. It is very fast to update the speed of the update for cultural products such as the Battle of the Republic of China, and we expect the future battle play to take the development path of industrialization as a more mature type of play, but also As a result, the history of the war play is to sum up the narrative principles that must be adhered to by the drama itself, to protect However, in the fierce market competition and the diverse audience demand, there are many problems in the creation of the war play. In general, the fine works of the war play, or the number of works of the classical anti-war play, have also appeared. It's not that sufficient. So, if the battle play is to really make sense and call for innovation, then this innovation will need to be summarized and supported, and this kind of TV play can be summarized through the analysis of the outstanding battle play or the outstanding performance of the war play. The construction of the culture in the exhibition, the guidance and the publicity of the market.
【學(xué)位授予單位】：云南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905
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