本文選題：鄭曉龍　切入點(diǎn)：影視作品　出處：《山東師范大學(xué)》2015年碩士論文

【摘要】：從參與策劃的《四世同堂》《渴望》《編輯部的故事》到親自執(zhí)導(dǎo)的《北京人在紐約》《刮痧》再到《金婚》《后宮·甄[傳》以及去年火熱熒屏的《紅高粱》，鄭曉龍作為一名極具現(xiàn)實(shí)主義創(chuàng)作風(fēng)格的影視創(chuàng)作者，堅(jiān)持“低處扎根、高處俯瞰”的原則，將鏡頭對準(zhǔn)中國的普通大眾，為觀眾呈現(xiàn)眾多質(zhì)量上乘的影視作品。然而到目前為止，國內(nèi)外對鄭曉龍及其作品的系統(tǒng)性研究并不多見，大都只是局限于對其策劃或執(zhí)導(dǎo)的某部經(jīng)典作品進(jìn)行簡要評析，并且充滿歧見和論爭。因此我們有必要采用新的研究方法，來全面闡釋鄭曉龍影視作品中所蘊(yùn)含的社會價(jià)值。 本論文試圖從文化視角出發(fā)，在宏觀與微觀的雙向拓展中對作品進(jìn)行系統(tǒng)地解讀，主張歷史文化語境的重建，探尋鄭曉龍影視作品創(chuàng)作以及產(chǎn)生巨大影響的深層原因，從而更好地透析鄭曉龍影視作品。 從作品本身來看，，鄭曉龍經(jīng)過“初創(chuàng)期”的嘗試，“發(fā)展期”的突起和“成熟期”的輝煌，走出獨(dú)具一格的創(chuàng)作之路。其作品題材豐富，敘事張弛有度，人物立體鮮明，內(nèi)容大都具有家國情懷，以及高深的藝術(shù)價(jià)值與市場價(jià)值。也正是這些文本中共有的內(nèi)在特質(zhì)以及傳遞的正能量，使得鄭曉龍影視作品能在當(dāng)下良莠不齊的作品中脫穎而出。 從宏觀文化語境來看，無論是“弘揚(yáng)主旋律、提倡多樣化”的文藝政策，還是國家廣電總局頒發(fā)的眾多管理?xiàng)l例，抑或是市場機(jī)制催化下影視作品數(shù)量與品質(zhì)的競爭因素，都在不同程度上影響和制約著鄭曉龍影視作品的創(chuàng)作與發(fā)展。 相較于國內(nèi)其他影視導(dǎo)演來說，鄭曉龍創(chuàng)作的影視作品，具有強(qiáng)烈的現(xiàn)實(shí)主義批判精神和與時(shí)俱進(jìn)的開拓創(chuàng)新情懷，這些都是當(dāng)下中國影視市場所匱乏的，值得每一位創(chuàng)作者學(xué)習(xí)與借鑒。但在大眾消費(fèi)文化的利益驅(qū)使下，鄭曉龍對個(gè)別作品商業(yè)性與藝術(shù)性關(guān)系的權(quán)衡有失偏頗，表現(xiàn)出商業(yè)痕跡過重、藝術(shù)虛構(gòu)過度等問題，這在一定程度上削減了影視作品的藝術(shù)審美價(jià)值。因而，作為中國影視事業(yè)的領(lǐng)軍人物，為使我國影視藝術(shù)能夠健康、有序、持久的發(fā)展，鄭曉龍需帶領(lǐng)眾多影視創(chuàng)作者，理性分析當(dāng)下中國的影視市場，在堅(jiān)持現(xiàn)實(shí)主義創(chuàng)作觀的基礎(chǔ)上，正確對待大眾文化，合理使用商業(yè)手段，創(chuàng)作出讓更多人認(rèn)可的作品。
[Abstract]:From "four generations together", "yearning", "the Story of the editorial Department" to "Beijing Man in New York" "scrapping", "Jin Ma" to "Hougong Zhen" and "Red Sorghum" on last year's fiery screen, Zheng Xiaolongzuo. For a very realistic creative style of film and television creators, Adhering to the principle of "taking root at a low place and overlooking it from a height," and focusing the lens on the general public in China, the audience is presented with numerous films and TV works of superior quality. However, so far, systematic research on Zheng Xiaolong and his works has been rare at home and abroad. Most of them are limited to a brief analysis of a classical work planned or directed by Zheng Xiaolong, and are full of differences and controversies. Therefore, it is necessary to adopt new research methods to fully explain the social value contained in Zheng Xiaolong's film and television works. From the perspective of culture, this paper attempts to systematically interpret the works in the two-way development of macro and micro, advocate the reconstruction of historical and cultural context, and explore the deep reasons for the creation of Zheng Xiaolong's film and television works and their great influence. In order to better dialysis Zheng Xiaolong film and television works. From the point of view of the works themselves, Zheng Xiaolong, through the attempt of "initial period", the protruding of "development period" and the brilliance of "mature period", went out of the unique way of creation. Most of the content has the feelings of home and country, as well as the profound artistic value and market value. It is also the inherent characteristics and positive energy of these texts that make Zheng Xiaolong's film and television works stand out in the current intermingled works. From the macro cultural context, whether it is the literary policy of "carrying forward the main theme and advocating diversity", or the numerous regulations issued by the State Administration of Radio, Film and Television, or the competitive factor of the quantity and quality of film and television works under the catalysis of the market mechanism, Both influence and restrict the creation and development of Zheng Xiaolong's film and TV works to varying degrees. Compared with other film and television directors in China, the films and television works created by Zheng Xiaolong have a strong spirit of realism criticism and pioneering and innovative feelings of keeping pace with the times, which are all lacking in the current Chinese film and television market. It is worth learning and learning from every creator. But driven by the interests of popular consumer culture, Zheng Xiaolong's trade-off between the commercial and artistic nature of individual works is biased, showing problems such as excessive commercial traces, excessive artistic fiction, and so on. To some extent, this has reduced the artistic aesthetic value of film and television works. Therefore, as a leading figure in China's film and television industry, Zheng Xiaolong needs to lead many film and television creators in order to enable China's film and television art to develop healthily, in an orderly and lasting manner. Rational analysis of the current Chinese film and television market, on the basis of adhering to realistic creative view, the correct treatment of popular culture, rational use of commercial means to create more people to recognize the works.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J905

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