本文選題：電視劇 + 軍旅題材電視劇�。� 參考：《河北師范大學(xué)》2014年碩士論文

【摘要】：中國的電視劇藝術(shù)從1958年至今,盡管經(jīng)歷了短短50年的發(fā)展,但發(fā)展卻是異常迅猛的。有資料顯示,從改革開放至今,中國不僅是當(dāng)今世界上頭號電視劇生產(chǎn)大國,還是頭號電視劇播出與觀眾文化消費(fèi)大國年產(chǎn)量已逾8000集。 本文的著眼點(diǎn)是電視劇類型之一的軍事題材電視劇,主要分析軍事題材電視劇在軍人形象塑造上的思考與創(chuàng)新。軍事題材電視劇作為眾多電視劇類型中的一種,以反映中國革命的重大題材等特殊內(nèi)容，成為了類型電視劇中較為重要的角色,也被稱為“主旋律”電視劇。90年代以來,隨著軍事題材電視劇與市場結(jié)合的不斷緊密,軍事題材電視劇跳出往常既定敘述和描寫模式,不論是在影視語言還是在對典型人物形象的塑造上,都不斷尋求創(chuàng)新,擺脫了軍事題材電視劇中英雄人物長期以來作為“政治工具”和“道德楷模”的標(biāo)志性影響,轉(zhuǎn)而回歸到真正的藝術(shù)審美性上來。從客觀上看,它更能體現(xiàn)歷史的真實(shí)性,將中國軍人形象塑造的史無前例的豐滿和立體,令觀眾在觀看電視劇的同時(shí)產(chǎn)生共鳴。它將英雄的塑造點(diǎn)回歸到“人”本身上來,真正從客觀角度出發(fā),刻畫出更為真實(shí)、具體的中國軍人形象，創(chuàng)作出一批個(gè)性鮮明、具有較強(qiáng)藝術(shù)審美性的典型人物和代表作品。 軍人形象作為構(gòu)建軍旅電視劇的基石，既是其謳歌與贊頌的對象，同時(shí)也是弘揚(yáng)愛國主義與英雄主義精神的重要載體。本文以近十年來我國軍旅題材電視劇中的軍人形象為研究對象，通過梳理軍人形象的發(fā)展脈絡(luò)與嬗變軌跡，分析其在各時(shí)期所表現(xiàn)的主要特點(diǎn)，并且對其產(chǎn)生的社會學(xué)和美學(xué)意義進(jìn)行了思考與分析。希望為軍旅題材電視劇未來的發(fā)展與軍人形象的進(jìn)一步建構(gòu)提供借鑒與參考，為普遍缺乏精神與信仰支撐的迷茫受眾，提供值得參照的人物典范與可供汲取的正面價(jià)值，，具有積極的作用與意義。 論文共分為三大部分，第一章通過對軍人形象的發(fā)展脈絡(luò)的梳理，認(rèn)為劇中人物形象的嬗變主要體現(xiàn)在四個(gè)主要方面。第二章主要剖析了軍旅劇中人物形象變化的原因。第三章主要從社會和藝術(shù)兩個(gè)角度分析了軍人形象嬗變所帶來的意義。
[Abstract]:Chinese TV drama art has been developing rapidly since 1958, although it has been developing for 50 years. Some data show that since the reform and opening up to date, China is not only the world's largest producer of TV series, but also the number one TV series broadcast and audience culture consumption country's annual output has exceeded 8000. This paper focuses on the military TV series, which is one of the types of TV dramas, mainly analyzes the thinking and innovation of military TV dramas in shaping the image of military personnel. As one of the many types of TV dramas, military TV dramas have become a more important role in the type of TV dramas to reflect the major themes of the Chinese revolution, and have also been called "main melody" TV dramas since the 1990s. With the combination of the military TV series and the market, military TV dramas jump out of the usual narrative and description mode, whether in the film and television language or in the creation of typical characters, they are constantly looking for innovation. It gets rid of the symbolic influence of the heroes in the military TV series as a "political tool" and "moral role model" for a long time, and then returns to the true artistic aesthetics. From the objective point of view, it can reflect the authenticity of the history, and the unprecedented fullness and stereoscopic portrayal of the image of the Chinese military makes the audience resonate while watching the TV series. It returns the molding point of hero to "human" itself, truly from an objective angle, portrays a more real and concrete image of Chinese soldiers, and creates a group of typical characters and representative works with distinctive personality and strong artistic aesthetic character. As the cornerstone of constructing military TV series, military image is not only the object of eulogy and praise, but also an important carrier to carry forward the spirit of patriotism and heroism. This paper takes the military image in the recent ten years as the research object, analyzes the main characteristics of the military image in each period by combing the developing thread and changing track of the military image. And the sociological and aesthetic significance of its emergence has been considered and analyzed. It hopes to provide reference and reference for the future development of military TV series and the further construction of military image, for the confused audience who generally lack the support of spirit and belief, and for the model of characters and positive value to be drawn from. Have a positive role and significance. The thesis is divided into three parts. The first chapter, through combing the development of the image of the soldiers, thinks that the evolution of the characters in the play is mainly reflected in four main aspects. The second chapter mainly analyzes the reasons for the change of characters in military drama. The third chapter mainly analyzes the significance of the change of military image from two angles of society and art.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 李治安;;當(dāng)前軍旅題材電視劇的四大類型[J];當(dāng)代電視;2006年06期

2 邊國立;;軍旅題材電視劇審美形態(tài)描述——為紀(jì)念中國人民解放軍建軍八十周年而作[J];當(dāng)代電視;2007年08期

3 杜金京;;論《炊事班的故事》在軍旅題材電視劇創(chuàng)作中的審美價(jià)值[J];當(dāng)代電視;2010年01期

4 史博公;論當(dāng)代軍旅題材電視劇創(chuàng)作觀念的嬗變[J];當(dāng)代電影;2003年04期

5 曹蘭琴;;延異與抹擦——論軍旅題材電視劇中被解構(gòu)的反面形象[J];當(dāng)代電影;2008年04期

6 韓駿偉;軍旅影視藝術(shù)的現(xiàn)狀與思考[J];電視研究;2003年01期

7 楊旦修;;我國軍旅題材電視劇的概念、分類及創(chuàng)作的歷史沿革[J];電視研究;2010年03期

8 賈玉春;謝志芬;;影視受眾的英雄情結(jié)和心理預(yù)期——軍旅題材作品火爆銀屏探因[J];電影文學(xué);2008年14期

9 秦海英;;軍事題材的民間狂歡——電視連續(xù)劇《歷史的天空》、《亮劍》的創(chuàng)作特點(diǎn)分析[J];青島大學(xué)師范學(xué)院學(xué)報(bào);2006年02期

10 何延鋒;解析紅色經(jīng)典[J];中國電視;2005年03期

本文編號：1837605