本文選題：欄目劇　切入點(diǎn)：敘事策略　出處：《湖南師范大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：隨著電視欄目愈來(lái)愈故事化、民生化、大眾化,以往單純靠扮演公共服務(wù)與政府“傳播機(jī)器”的傳統(tǒng)電視節(jié)目逐漸淡褪于電視熒屏,取而代之的是一系列大眾文化、民生節(jié)目、民生新聞的欣欣向榮。電視欄日劇便是誕生于這一背景之下。從2006年重慶電視臺(tái)《霧都夜話》興起電視欄目劇至今,該節(jié)目樣式已成長(zhǎng)七年,并大有欣榮發(fā)展之勢(shì)。 欄目劇在實(shí)踐上風(fēng)生水起,但與之相對(duì)的卻是,其在理論研究上黯然蕭索,甚至一片空白。至今沒(méi)有一本研究欄目劇的理論專著,學(xué)術(shù)論文也相對(duì)較少,甚至連欄目劇的定義也是眾說(shuō)紛紜,莫衷一是。而在敘事上,也是喜憂參半,一方面,欄目劇以其平民化的敘事風(fēng)格走俏,另一方面也因?yàn)椤斑^(guò)度平民化”落入媚俗的創(chuàng)作誤區(qū)；其二,在導(dǎo)演二度創(chuàng)作中,又因時(shí)而紀(jì)實(shí),時(shí)而虛構(gòu),時(shí)而影視劇敘事手法,時(shí)而新聞概述手法,使其呈現(xiàn)暖昧之態(tài),特征不明；其三則是近年來(lái)欄目劇形態(tài)的多樣化演變,時(shí)而“電視劇”,時(shí)而“微電影”的“變身”,讓原本就定義不明的電視欄目劇身份更加撲朔迷離。 疏理已有爭(zhēng)論,歸納它在生產(chǎn)和播出上獨(dú)有的特征,總結(jié)其理論規(guī)律,無(wú)疑能推動(dòng)其創(chuàng)作和實(shí)踐。本篇論文正是嘗試對(duì)電視欄目劇的定義及形態(tài)、劇本敘事風(fēng)格、欄目劇導(dǎo)演敘事手法、大眾參與敘事等方面進(jìn)行較為系統(tǒng)的研究,并結(jié)合自身參與欄目劇制作的經(jīng)歷,對(duì)其收視率、內(nèi)部操作結(jié)構(gòu)、創(chuàng)作流程等方面進(jìn)行全面、系統(tǒng)、真實(shí)的分析。 第一章主要明確欄目劇的定義及形態(tài)。分析欄目劇與情景劇、新聞專題、電視劇、微電影等姊妹電視形態(tài)之間的區(qū)別,明確欄目劇實(shí)際足一種新聞與影戲嫁接的產(chǎn)物,欄目劇應(yīng)具備播出時(shí)長(zhǎng)、播出時(shí)段、敘事風(fēng)格、演員身份、導(dǎo)演風(fēng)格等方面的慣有特征,不得混淆。 第二章主要對(duì)欄目劇文本進(jìn)行分析。結(jié)合一線創(chuàng)作經(jīng)歷分析欄目劇文本創(chuàng)作的流程、特點(diǎn)、風(fēng)格,重點(diǎn)陳述劇本創(chuàng)作應(yīng)遵循一定的內(nèi)在邏輯和技巧,就如何選擇故事,如何設(shè)置懸念、節(jié)奏、矛盾等方面進(jìn)行分析,同時(shí)分析欄目劇在發(fā)展中多花樣的敘事嬗變、敘事誤區(qū)及隱憂,力求從劇本本身規(guī)范欄目劇創(chuàng)作 第三章主要講述導(dǎo)演的敘事策略。重點(diǎn)講述導(dǎo)演在電視欄目劇中的重要地位、如何進(jìn)行劇本的二度創(chuàng)作,如何進(jìn)行現(xiàn)場(chǎng)導(dǎo)演,導(dǎo)演在欄目劇制作流程中應(yīng)注意的一些規(guī)則,以及電視欄目劇編導(dǎo)一體化的利與弊等等 最后,進(jìn)一步強(qiáng)調(diào)欄目劇制作應(yīng)該理性創(chuàng)作,堅(jiān)持民生、真實(shí)大眾,不盲目、不盲從、不媚俗的敘事態(tài)度,在不斷創(chuàng)新的同時(shí)堅(jiān)持媒體人本身應(yīng)具有的原則與底線,希望欄目劇創(chuàng)作者能清醒應(yīng)對(duì)。 論文運(yùn)用了不少欄目劇生產(chǎn)、運(yùn)作的第一手資料,并實(shí)際參與創(chuàng)作,不期望能就此解決欄目劇的所有紛爭(zhēng),但是衷心希望能為欄目劇的繼續(xù)發(fā)展提供一個(gè)新的視點(diǎn)。
[Abstract]:As television programs become more and more storytelling, people's livelihood is becoming more and more popular, in the past, the traditional TV programs, which simply rely on public services and the government's "communication machine," have gradually faded into television screens and replaced by a series of popular culture and livelihood programs. The prosperity of people's livelihood news. The TV column Japanese drama was born under this background. Since 2006 Chongqing TV station "Wudu Night talk", the TV program style has been growing for seven years, and has a tendency of prosperity and development. In practice, column dramas have become very popular, but in contrast, they have been dismal or even blank in theoretical research. So far, there has not been a theoretical monograph on column plays, and there are relatively few academic papers. Even the definition of column play is controversial. But in narrative, it is also mixed. On the one hand, column play is popular with its popularized narrative style. On the other hand, it is also because "excessive popularization" has fallen into the misconception of vulgar creation; second, in the second creation of directors, it is sometimes recorded, sometimes fictional, sometimes film and TV drama narration, sometimes news summarization, so that it presents a warm state of obscurity. The third is the variety and evolution of the form of column drama in recent years, sometimes "TV series", sometimes "micro-film" "transformation", so that the original unidentified definition of TV drama identity is more complicated and confusing. It has been argued that summing up its unique characteristics in production and broadcasting and summarizing its theoretical rules can undoubtedly promote its creation and practice. The narrative techniques of the program directors and the popular participation in the narration are systematically studied, and the ratings, internal operational structure, creative process and so on are comprehensively and systematically studied in the light of their own participation in the production of the column drama. A true analysis. The first chapter mainly clarifies the definition and form of column drama. It analyzes the difference between column drama and scene drama, news special topic, TV series, micro-film and other sister television forms, and clarifies that column play is a kind of product of news and shadow drama grafting. Column play should have the characteristics of long broadcast time, broadcast time, narrative style, actor identity, director style and so on, and should not be confused. The second chapter mainly analyzes the text of the column drama. Combined with the first-line creative experience, it analyzes the flow, characteristics, style and emphasis of the script creation, and how to choose the story. How to set up suspense, rhythm, contradiction and so on, at the same time, analyze the narrative transmutation, narrative misunderstandings and hidden worries of column play in the development of various patterns, and strive to standardize the column play creation from the script itself. The third chapter mainly narrates the director's narrative strategy. It focuses on the important position of the director in the TV column play, how to create the second stage of the script, how to direct on the spot, and some rules that the director should pay attention to in the production process of the column play. As well as the advantages and disadvantages of the integration of TV drama production and directing, and so on. Finally, it is further emphasized that the production of column plays should be rational creation, adhere to the people's livelihood, the real public, not blind, do not blindly follow, not vulgar narrative attitude, while constantly innovating adhere to the media should have the principles and bottom line. I hope the creators of the program can deal with it soberly. The paper uses the first-hand information of the production and operation of a lot of column plays, and actually participates in the creation, does not expect to resolve all the disputes of the column drama, but sincerely hopes to provide a new viewpoint for the continuous development of the column play.
【學(xué)位授予單位】：湖南師范大學(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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