本文選題：影視改編劇　切入點：牛郎織女傳說　出處：《湘潭大學(xué)》2013年碩士論文

【摘要】：牛郎織女傳說作為中國四大傳說之一，早已搬上熒屏。可以說，每個時代都有關(guān)于牛郎織女傳說的敘述，它不僅是一個美麗動人的傳說，同時也表達了人們的內(nèi)在需求，體現(xiàn)了社會話語權(quán)的變更。不同時期的改編版本，有著不同人物角色和敘事結(jié)構(gòu)等，我們恰好可以通過不同年代的敘事，挖掘其背后的文化內(nèi)涵。筆者以鐘敬文歸納出的“牛郎型”作為牛郎織女傳說的原型，通過分析“牛郎型”故事以及系列影視劇文本中的人物角色模式、敘事結(jié)構(gòu)以及敘事策略等，來考察該傳說在當(dāng)代社會語境中產(chǎn)生的變化，并把它們劃分成不同的類型：牛郎織女傳說的政治符號化、牛郎織女傳說的財富化以及牛郎織女傳說的傳統(tǒng)女性形象回歸。筆者通過具體分析，認為黃梅戲電影《牛郎織女》通過殘酷無情的對頭、勇于反抗的主角和大愛無私的助手等方式進行政治化包裝，是以愛情為外衣，表達了封建社會中統(tǒng)治階級殘酷壓榨勞苦大眾的思想，帶有鮮明的主流意識形態(tài)；香港版電視劇《牛郎織女》則試圖通過財富與愛情相結(jié)合的敘事模式表明當(dāng)代人對財富的追求，同時宣揚人們在大眾消費文化時代應(yīng)該追逐常態(tài)化的欲望；大陸版電視劇《牛郎織女》以愛情糾葛為敘事中心，表明在男性中心意識形態(tài)的操控下，，當(dāng)代女性形象雖然有所轉(zhuǎn)變，但是整體形象依然趨向于賢妻良母式的形象，是傳統(tǒng)女性形象的一種回歸。 通過上述分析與研究，筆者認為牛郎織女傳說在影視劇中的變化主要在以下兩個方面：一是影視劇改編了牛郎織女傳說的人物角色模式，即影視劇保留了該傳說的核心角色，并在核心角色的基礎(chǔ)上置換了人物形象，改寫人物關(guān)系和角色性格；二是影視劇改寫了牛郎織女傳說的敘事結(jié)構(gòu)，即影視劇在牛郎織女傳說的離散型結(jié)構(gòu)上不斷地變奏與重置，形成了不同的矛盾沖突，這些元素共同譜寫出了不同類型的牛郎織女傳說。此外，筆者認為牛郎織女傳說在影視劇變化的原因主要是敘事媒介形態(tài)的變化和社會話語權(quán)的變化。
[Abstract]:As one of the four great legends in China, Niulang Weaver Girl Legend has long been on the screen. It can be said that there is a narrative of Niulang Weaver Girl Legend in every era. It is not only a beautiful and moving legend, but also an expression of people's internal needs. It reflects the change of social discourse power. The adaptation versions of different periods have different characters and narrative structures, so we can just pass through the narration of different ages. The author takes "Niulang Type" as the archetype of Niulang Weaving Girl Legend, analyzes the story of "Niulang Type" and the character pattern in the text of a series of movies and TV plays, taking the "Niulang Type" as the archetype of the legend of Niulang Weaver. The narrative structure and narrative strategy are used to investigate the changes of the legend in the contemporary social context and to divide them into different types: the political symbolization of the Niulang Weaver daughter Legend. The wealth of Niulang Weaver Girl Legend and the return of the traditional female image of Niulang Weaver Girl Legend. The author, through concrete analysis, thinks that the Huangmei Opera film "Niulang Weaving Girl" through the ruthless adversary, The heroine who resists bravely and the altruistic assistant carries on the politicization packing, is takes the love as the cloak, has expressed the feudal society the ruling class cruel squeezes the laboring public thought, has the distinct mainstream ideology; The Hong Kong TV series "Niu Lang Weaver Girl" tries to show the contemporary people's pursuit of wealth through the combination of wealth and love, and advocates that people should pursue the common desire in the age of mass consumption culture. The mainland TV series Niulang Weaver takes love disputes as the narrative center, which shows that under the control of male-centered ideology, the image of contemporary women has changed, but the overall image still tends to be the image of a good wife and good mother. It is a return of traditional female image. Through the above analysis and research, the author thinks that the change of Niulang Weaver Girl Legend in the film and TV drama mainly lies in the following two aspects: one is that the film and TV drama adapted the character pattern of the Niulang Weaver Girl Legend, that is, the film and television drama retained the core role of the legend. On the basis of the core role, the author replaces the character image, rewrites the character relationship and character, and rewrites the narrative structure of the Niulang Weaver Girl Legend, that is, the film and TV drama constantly changes and resets the discrete structure of the Niulang Weaver Girl Legend. In addition, the author thinks that the main reasons for the change of Niulang Weaver's Legend in film and TV play are the change of narrative media and the change of social discourse right.
【學(xué)位授予單位】：湘潭大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905;I207.7

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