本文選題：“穿越”題材影視劇　切入點：后現(xiàn)代語境　出處：《重慶大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：19世紀(jì)末，憑著自然科學(xué)層面對“時空穿梭”的提出和論證，“穿越”一詞在社會紛繁復(fù)雜，文藝范疇流派眾多、理論兼容、各種話語爭執(zhí)不斷。各類藝術(shù)家開始蠢蠢欲動：他們不考慮“穿越”時空的現(xiàn)象是否可行，巧妙地從感性審美的藝術(shù)特性出發(fā)，將科學(xué)界無法用理性解釋的“穿越”巧妙的虛構(gòu)，創(chuàng)作出很多具有時代性標(biāo)志的“穿越”題材藝術(shù)作品。 “穿越”以一種故事元素的形式存在于各類藝術(shù)范疇中，，潛移默化地被定義——“穿越”藝術(shù)，就是內(nèi)容中包括跨越時間和空間的行為或事件�！按┰健鳖}材影視劇中，所有“穿越”的緣由來自于超自然與超人類的力量；從影像系統(tǒng)性質(zhì)論看來，它敘事元素的特點都可以用神化影像系統(tǒng)的敘事機制去解釋。但“穿越”題材影視劇只是神化影像系統(tǒng)的小部分，不是所有的神化影像系統(tǒng)在敘事時都會“穿越”時空。 “穿越”作為影視藝術(shù)，無論是內(nèi)部的創(chuàng)作過程還是外部的受眾心理體驗都繼承了后現(xiàn)代理論精神的藝術(shù)特征�！按┰健鳖}材影視劇在敘事特征上明顯受到了解構(gòu)作為基礎(chǔ)方法論的影響。但不是所有的東西都能解構(gòu)，在影像系統(tǒng)內(nèi)部，解構(gòu)只是對環(huán)境機制或敘事機制形成對立關(guān)系。在進(jìn)行藝術(shù)創(chuàng)作時定要關(guān)注它所選取的解構(gòu)對象所應(yīng)該滿足的可以被解構(gòu)的條件。而從“穿越”題材影視劇的視聽屬性來看，也具有后現(xiàn)代影像的反固定性模式的光影色調(diào)和無序性運動的鏡頭調(diào)度。并且藝術(shù)風(fēng)格也應(yīng)用后現(xiàn)代的手法：拼湊與戲仿、仿象、超現(xiàn)實等來對經(jīng)典傳統(tǒng)進(jìn)行消解與顛覆。 “穿越”題材影視劇的文化內(nèi)涵分析出,其影像形式是具有較為消極和較為積極的兩面性。為了使其從產(chǎn)業(yè)的角度有更好的發(fā)展，筆者進(jìn)行了全面的社會調(diào)查——從受眾的心理認(rèn)知與傳播范圍、本體的表現(xiàn)形式和受眾的價值認(rèn)同、國別差異的縱橫比較、政府禁播與調(diào)控措施這四個方面，全面探索了“穿越”題材影視劇的社會表征。調(diào)查結(jié)果顯示，“穿越”題材影視劇在對受眾的向?qū)�、價值的喚醒等方面都存在著創(chuàng)作上的缺陷。隨著進(jìn)一步對創(chuàng)作原則的初探，試圖讓我國的“穿越”題材影視劇在有更大的空間在藝術(shù)產(chǎn)業(yè)中發(fā)展。
[Abstract]:At the end of 19th century, with the introduction and argumentation of "time and space shuttle" in natural science, the word "through" was complicated in society, and there were many schools of literature and art, and the theory was compatible. All kinds of dissension. Artists of all kinds begin to stir up: they do not consider whether the phenomenon of "traversing" time and space is feasible, and ingeniously proceed from the artistic characteristics of sensual aesthetics. With the ingenious fictions of "traversing" which cannot be explained rationally by the scientific community, many works of art of "traversing" are created with the symbol of the times. "traversing" exists in all kinds of artistic categories in the form of a story element, and is implicitly defined as "traversing" art, in which the content includes acts or events that span time and space. All the causes of "traversing" come from supernatural and superhuman forces; from the perspective of the nature of the image system, The characteristics of its narrative elements can be explained by the narrative mechanism of the deified image system, but "traversing" is only a small part of the deified image system, and not all the deified image systems "cross" the time and space in the narration. "traversing" as the art of film and television, Both the internal creative process and the external psychological experience of the audience inherit the artistic characteristics of the post-modern theoretical spirit. The narrative characteristics of the film and television drama "through" are obviously influenced by deconstruction as the basic methodology. But not everything can be deconstructed, Inside the image system, Deconstruction is only opposite to the environmental mechanism or narrative mechanism. In the process of artistic creation, we must pay attention to the conditions that the deconstruction object it selects should be able to be deconstructed. Also has the post-modern image anti-fixed mode of light and shadow hue and the disordered motion lens scheduling. And the artistic style also uses the post-modern technique: piecing together and parody, imitating, surrealistic and so on, carries on the elimination and the subversion to the classical tradition. The cultural connotation of the film and television drama "through" shows that its image form has a more negative and positive dual character, in order to make it develop better from the angle of industry. The author has conducted a comprehensive social investigation-from the audience's psychological cognition and the dissemination scope, the Noumenon's manifestation and the audience's value identification, the country difference's vertical and horizontal comparison, the government ban broadcasting and the control measure these four aspects, This paper probes into the social representation of the film and TV drama "through". The results of the investigation show that there are some creative defects in the guide to the audience and the awakening of the value of the film and television drama of the "through" theme, etc. With the further exploration of the creative principles, Try to make our country's "through" theme film and television drama in greater space in the development of the art industry.
【學(xué)位授予單位】：重慶大學(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1條

1 黃琳;;論象征影像系統(tǒng)與解構(gòu)型影像系統(tǒng)[J];北京電影學(xué)院學(xué)報;2011年02期

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