本文選題：新世紀(jì) + 革命歷史劇��； 參考：《武漢大學(xué)》2014年博士論文

【摘要】：新世紀(jì)以來(lái),革命歷史劇的生產(chǎn)空前活躍,持續(xù)引發(fā)關(guān)注。革命歷史劇的流行是一種社會(huì)現(xiàn)象,也是一種傳播活動(dòng),更是一種文化現(xiàn)象。首先,作為一種社會(huì)現(xiàn)象,革命歷史劇在特定的社會(huì)語(yǔ)境中產(chǎn)生,與當(dāng)下具有強(qiáng)烈的關(guān)聯(lián)性,具有指向現(xiàn)實(shí)的社會(huì)意涵；其二,革命歷史劇的生產(chǎn)與消費(fèi)是一種大眾傳播活動(dòng),影響了人們對(duì)革命歷史的認(rèn)知、情感和態(tài)度,形塑公民的政治人格和集體記憶。其三,革命歷史劇熱播也是一種文化現(xiàn)象,在一定程度上折射出當(dāng)代的價(jià)值觀念以及意識(shí)形態(tài)。 本文重點(diǎn)探討新世紀(jì)革命歷史題材影視劇是如何影響人們對(duì)革命歷史的認(rèn)知、思想情感以及社會(huì)共識(shí)的。在社會(huì)層面上考察革命歷史劇對(duì)于大眾產(chǎn)生的整體性影響。事實(shí)上,對(duì)于社會(huì)中的每一個(gè)個(gè)體而言,記憶是一種“外在的喚起”,特定的個(gè)體記憶能否被喚起,以什么樣的方式被喚起并講述出來(lái),取決于個(gè)體所在的群體、社會(huì)以及時(shí)代精神能否鼓勵(lì)他(她)進(jìn)行某種形式的回憶,提供給他(她)記憶的框架。正是在這層意義上,我們面對(duì)著一個(gè)超越了個(gè)體記憶的“集體記憶”。 集體記憶理論的核心在于：其一,“現(xiàn)在中心觀”,集體記憶是立足現(xiàn)在對(duì)過(guò)去的一種建構(gòu)。當(dāng)人們把目光投向“過(guò)去”的時(shí)候,都會(huì)受到意識(shí)形態(tài)的諸多限制,任何人心中的“過(guò)去”都是當(dāng)下社會(huì)性的建構(gòu),回憶很大程度上取決于人們現(xiàn)在的需要、利益和期待。其二,不同時(shí)期人們對(duì)于“過(guò)去”的記憶可能是不同的,這不是由于“過(guò)去”發(fā)生了變化,而是人們看待過(guò)去的態(tài)度和方式改變了,是社會(huì)提供敘述、整合的框架發(fā)生了改變。其三,集體記憶存在著多種社會(huì)框架,它們之間彼此交錯(cuò),部分重疊,其中某個(gè)框架會(huì)在某一特定時(shí)期占據(jù)支配地位。集體記憶也因此成為當(dāng)下各種社會(huì)力量斗爭(zhēng)的場(chǎng)域,各種力量都試圖書寫有利于自己的集體記憶。集體記憶的達(dá)成是各方力量爭(zhēng)奪、協(xié)商共謀、相互借用的結(jié)果,在這一過(guò)程中,人們關(guān)于“過(guò)去”的記憶發(fā)生著變化。 本文藉由“集體記憶”理論來(lái)審視革命歷史劇。首先,從縱向的歷時(shí)層面梳理了從新時(shí)期到新世紀(jì)社會(huì)語(yǔ)境的變遷,從政治、經(jīng)濟(jì)、文化三個(gè)方面對(duì)革命歷史劇生產(chǎn)的現(xiàn)實(shí)語(yǔ)境進(jìn)行了較為詳細(xì)的論述,這為新世紀(jì)影像革命歷史記憶的研究確立了基本的框架。在政治方面,新時(shí)期以來(lái)中國(guó)社會(huì)進(jìn)入到了一個(gè)“后革命時(shí)代”,在“去政治化”的過(guò)程中,對(duì)于“革命”意義的闡釋也發(fā)生了深刻的變化；在經(jīng)濟(jì)方面,影視文化產(chǎn)業(yè)已由轉(zhuǎn)型期的混亂無(wú)序開始走向規(guī)范有序,這是革命歷史劇生產(chǎn)與傳播的基點(diǎn)；在文化方面,主導(dǎo)文化、大眾文化、精英文化相互滲透、融合,形成了“多元共生”的局面。革命歷史影像記憶作為社會(huì)文化的一個(gè)組成部分,作為人們心靈世界的一種反映,必然會(huì)受到整個(gè)社會(huì)政治、經(jīng)濟(jì)、文化現(xiàn)實(shí)的深刻影響,其價(jià)值意義與思想內(nèi)核隨著整個(gè)社會(huì)文化場(chǎng)域的轉(zhuǎn)變而發(fā)生位移。 接下來(lái),在橫向的共時(shí)層面,本文全面分析了革命歷史記憶的媒介文本呈現(xiàn)(文本內(nèi)容分析)。本文從戰(zhàn)爭(zhēng)記憶、英雄記憶、情愛記憶三個(gè)視角切入,對(duì)革命歷史影像記憶進(jìn)行了符號(hào)與文本的解析。在對(duì)每一主題進(jìn)行論述時(shí),遵循內(nèi)在的邏輯關(guān)系,沿著“表現(xiàn)了什么、如何表現(xiàn)、體現(xiàn)出什么樣的特征、與既往的區(qū)別是什么”這樣的思維走向,重點(diǎn)分析承載集體記憶的革命歷史劇,在新世紀(jì)呈現(xiàn)出怎樣的“新質(zhì)”。這一分析始終是在集體記憶的理論視野下進(jìn)行的,并從傳播學(xué)、文化研究、影視藝術(shù)等相關(guān)領(lǐng)域獲取了理論資源。通過(guò)分析,論文揭示出當(dāng)下革命歷史劇雖然仍帶有上世紀(jì)革命歷史創(chuàng)作的依稀回聲,但由于歷史語(yǔ)境、社會(huì)背景的變化以及藝術(shù)創(chuàng)新的努力,新世紀(jì)革命歷史劇已經(jīng)呈現(xiàn)出許多“新”的特征,在歷史觀念、影像風(fēng)格、敘事技巧上都呈現(xiàn)出新的變化,重構(gòu)了民眾的歷史記憶。通過(guò)文本分析可以看出革命歷史記憶具有強(qiáng)烈的“建構(gòu)”意涵,于是,對(duì)記憶與權(quán)力之間的關(guān)系做出解釋顯然是必要的。 循此向度,本文在生產(chǎn)、傳播與消費(fèi)、認(rèn)同的系統(tǒng)視野中,從政治權(quán)力、商業(yè)權(quán)力、創(chuàng)作者權(quán)力、受眾權(quán)力四個(gè)維度闡釋了新世紀(jì)革命歷史記憶之所以形成的結(jié)構(gòu)性因素。探討媒介與其他社會(huì)系統(tǒng)間各種權(quán)力關(guān)系的運(yùn)作策略,內(nèi)中的合力與共謀、施控與受控、操縱與依附、壓力與張力,可見與不可見的種種因素制約著革命歷史記憶的生產(chǎn)與傳播。筆者意在從整體性的高度探究革命歷史劇背后深層次的文化意涵和權(quán)力本質(zhì)。經(jīng)過(guò)分析,可以看到各種力量運(yùn)用不同的策略和技巧形塑人們的歷史記憶,或以變通的方式對(duì)其進(jìn)行揚(yáng)棄,或?qū)ζ溥M(jìn)行補(bǔ)寫續(xù)寫,或進(jìn)行徹底的顛覆抑或是消費(fèi)把玩,他們共同編織、撕扯著“革命歷史”這張大網(wǎng)。在這種情形下,革命歷史記憶出現(xiàn)尷尬與錯(cuò)位也在所難免。 最后,本文探討了當(dāng)下革命歷史劇建構(gòu)集體記憶時(shí)的價(jià)值失范問(wèn)題,對(duì)革命歷史劇中存在的消費(fèi)主義、虛無(wú)主義和極端民族主義傾向進(jìn)行了批判性反思。濫用革命記憶,不僅會(huì)削弱對(duì)革命歷史的民族認(rèn)同,還會(huì)傷害民眾的情感,因此,對(duì)當(dāng)下革命歷史影像進(jìn)行修正,從而重建作為共識(shí)與情感紐帶的革命歷史記憶,是一個(gè)迫在眉睫的現(xiàn)實(shí)文化命題。
[Abstract]:Since the new century, the production of revolutionary historical plays has been unprecedentedly active and continued to attract attention. The popularity of revolutionary historical plays is a social phenomenon, a kind of communication activity, and a cultural phenomenon. First, as a social phenomenon, revolutionary historical plays are produced in a specific social context, with a strong relevance to the present, and a point of view. Secondly, the production and consumption of the revolutionary historical plays are a kind of mass communication activities, which affect people's cognition, emotion and attitude towards the history of the revolution, shape the political personality and collective memory of the citizens. Thirdly, the hot broadcast of the revolutionary historical drama is also a cultural phenomenon, to a certain extent, reflects the values and ideas of the contemporary era. Know the form.
This paper focuses on how the film and TV dramas of the revolutionary history theme in the new century affect people's cognition of the history of the revolution, the thoughts and feelings and the social consensus. In the social level, the whole influence of the revolutionary historical plays on the masses is investigated. In fact, for every body in the society, memory is a "external arousal". Whether or not the particular individual memory is aroused, what kind of evoking and telling, depends on whether the group, the society and the spirit of the times encourage him (she) to carry out some form of memory and provide the frame of memory to him (her). It is in this sense that we face a "collective" that transcends the memory of the individual. Memory ".
The core of collective memory theory lies in the following: first, "the present center view", the collective memory is based on the present construction of the past. When people put their eyes to the past, they are all restricted by the ideology, and the "past" in anyone's heart is the social construction of the present, and the recollection depends largely on the people. Our present needs, interests and expectations. Secondly, the memory of "past" may be different in different periods. This is not due to the change in the past, but the change in attitudes and ways of the past. It is the society that provides the narrative, the framework of integration has changed. Thirdly, there are a variety of social frames in the collective memory. They interlace and overlap each other, one of which occupies a dominant position in a particular period. Collective memory also becomes the field of all kinds of social power struggles, and all kinds of forces try to write the collective memory that is beneficial to themselves. The collective memory is a contention of all parties, conspiracy and borrowing from each other. As a result, people's memory of "past" has changed during this process.
This article examines the revolutionary historical dramas by "collective memory" theory. First, from the vertical diachronic level, the changes from the new period to the new century social context are combed, and the realistic context of the production of revolutionary historical drama is discussed in detail from the three aspects of politics, economy and culture, which is the research of the historical memory of the new century image revolution. In the political aspect, the Chinese society has entered a "post revolutionary era" since the new period. In the process of "dispoliticization", the interpretation of the meaning of the "revolution" has also undergone profound changes; in the economic aspect, the film and television culture industry has started from the chaos and disorder of the transition period to the standard order. This is the basis of the production and dissemination of the revolutionary historical dramas, and in the cultural aspect, the dominant culture, the mass culture and the elite culture permeate and merge together, forming a "multiple symbiosis" situation. As a part of the social culture, the revolutionary historical image memory is a reflection of the people's mind world, and it will inevitably be subject to the whole social politics, The profound influence of economic and cultural reality has shifted its value and ideological core with the transformation of the whole social and cultural field.
Then, in the horizontal synchronic level, this paper comprehensively analyzes the media text presentation of revolutionary historical memory (text content analysis). From three perspectives of war memory, hero memory and love memory, this paper analyses the symbol and text of revolutionary historical memory. The relationship, along the way of "what is shown, how to behave, what kind of characteristics is reflected, and what is the difference between the past", focuses on the analysis of the revolutionary historical dramas carrying collective memory, and the "new quality" in the new century. This analysis has always been carried out under the theory of collective memory, and from communication, Theoretical resources have been obtained in cultural research, film and television art and other related fields. Through the analysis, the thesis reveals that although the present revolutionary historical plays still have a rare echo of the revolutionary historical creation of the last century, the new century's revolutionary historical dramas have shown a lot of "new" because of the historical context, the change of the social background and the efforts of artistic innovation. Characteristics, in the historical concept, image style, narrative skills have presented new changes, reconstructs the historical memory of the people. Through the text analysis, it can be seen that the revolutionary historical memory has a strong "construction" meaning, so it is necessary to explain the relationship between memory and power.
In this direction, this article explains the structural factors that have formed in the new century's revolutionary historical memory from four dimensions of the political power, commercial power, creator power and audience power in the system vision of production, communication and consumption, and the audience power. This paper probes into the operation strategies of various power relations between the media and other social systems, and the joint force and the internal force. Conspiracy, control and control, manipulation and attachment, pressure and tension, visible and invisible factors restrict the production and dissemination of revolutionary historical memory. The author intends to explore the deep cultural connotation and power essence behind the revolutionary historical drama from a holistic height. After analysis, we can see that various forces use different strategies and techniques. In this case, it is unavoidable that the historical memory of the revolutionary history is embarrassed and misplaced.
Finally, this paper discusses the value anomie of the present revolutionary historical drama in the construction of collective memory, and gives a critical reflection on the consumerism, nihilism and extreme nationalism in the revolutionary historical plays. The abuse of revolutionary memory will not only weaken the national identity of the revolutionary history, but also hurt the people's feelings, therefore, to the point of view. It is an imminent realistic cultural proposition to revise the revolutionary historical images and reconstruct the revolutionary historical memory as a link between consensus and emotion.

【學(xué)位授予單位】：武漢大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905
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本文編號(hào)：1773777