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

  更多相關(guān)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(duì)川渝方言影視劇劇本內(nèi)容創(chuàng)作和影視美學(xué)價(jià)值的研究。 通過對(duì)影視劇的文本分析,總結(jié)川渝方言影視劇在內(nèi)容和美學(xué)價(jià)值上的特點(diǎn)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(wú)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?yàn)閯≈腥宋镄愿竦挠⑿坌蜗?表現(xiàn)出了草根英雄們?cè)S多不為人知的“缺點(diǎn)”,敘述了英雄人物的成長(zhǎng)的歷史,塑造出更讓觀眾覺得真實(shí)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(diǎn)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(zhǎng)”等家喻戶曉的藝術(shù)形象的佳作。這些劇中塑造的人物形象都是個(gè)性鮮活、獨(dú)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(jì)八九十年代中國(guó)影視劇中極具特色和個(gè)性的影視人物群像。 影視作品的內(nèi)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(zhǎng)》取材于富有傳奇色彩的四川歷史人物范紹增。《抓壯丁》反映了民國(guó)時(shí)期四川特殊的征兵方式。這些影視劇的當(dāng)代價(jià)值在于,它深度挖掘和傳播了地方文化,豐富了影視藝術(shù)的語(yǔ)言表現(xiàn)力；在影視造型音樂上,注重音樂性和地域性結(jié)合,幽默風(fēng)趣的人物語(yǔ)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(chǎng)景以真實(shí)的川渝風(fēng)情為背景,三者有機(jī)融合,創(chuàng)造出了一個(gè)充滿巴蜀風(fēng)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(shù)風(fēng)格并受到廣大觀眾的好評(píng),從影視劇的人物塑造和內(nèi)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(nèi)涵的升華等方面,都從幽默風(fēng)趣中傳達(dá)出一種地域的正能量,引起了社會(huì)各界的廣泛關(guān)注。 雖然目前川渝方言影視劇已經(jīng)在方言影視作品中自成一派,但是進(jìn)入21世紀(jì)以來(lái),川渝方言影視劇卻沒有得到應(yīng)有的長(zhǎng)足發(fā)展。片面追求收視率、迎合三俗市場(chǎng)的興趣以及缺乏地域性和國(guó)際性的結(jié)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(duì)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(xué)位授予單位】：湖北民族學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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