本文選題：家庭倫理劇 + 男性形象��； 參考：《西南大學(xué)》2013年碩士論文

【摘要】：我國(guó)家庭倫理劇從20世紀(jì)80年代開始醞釀,90年代成型,進(jìn)入新世紀(jì)呈現(xiàn)繁榮發(fā)展的景象,是中國(guó)大眾文化最重要的組成部分。家庭倫理劇是中國(guó)現(xiàn)實(shí)社會(huì)的產(chǎn)物,不僅生動(dòng)地再現(xiàn)了以夫妻為主的家庭和社會(huì)生活,還創(chuàng)作了許多形象鮮明的男性形象。比如,王滬生、鐘銳、余味、金亮等男性角色,成為那個(gè)時(shí)期具有標(biāo)志意義的男性形象,他們顯示了豐富的時(shí)代韻味。 本文選取新世紀(jì)代以來,獲得金鷹獎(jiǎng)、飛天獎(jiǎng)的家庭倫理劇為重點(diǎn)研究對(duì)象。系統(tǒng)地分析新世紀(jì)以來中國(guó)家庭倫理電視劇中典型的男性形象的變遷軌跡,運(yùn)用傳播學(xué)、社會(huì)學(xué)與倫理學(xué)的相關(guān)理論,分析男性形象演變的動(dòng)因。通過對(duì)典型個(gè)案的分析,探析對(duì)男性人生軌跡設(shè)計(jì)中所顯示的價(jià)值傾向,從而為中國(guó)家庭倫理電視劇的專題研究開拓更加廣闊的空間和可能。 本文分四個(gè)章節(jié),第一章從歷時(shí)態(tài)的角度將家庭倫理劇劃分為社會(huì)轉(zhuǎn)型初期和新世紀(jì)時(shí)期；第二章結(jié)合90年代以前文藝作品中的男性形象,梳理出英雄男性形象、平民男性形象的流變；窺視新世紀(jì)以來男性形象的生成背景；第三章重點(diǎn)研究新世紀(jì)以來家庭倫理劇男性形象的建構(gòu),對(duì)重要倫理劇做個(gè)案解讀和分析,對(duì)劇中男性形象命運(yùn)安排的敘事模式進(jìn)行藝術(shù)分析,探析其中關(guān)于男性形象的價(jià)值傾向。第四章,從文化研究視域入手,探析男性形象變遷和價(jià)值取舍的深層內(nèi)涵。
[Abstract]:The family ethics drama in China began to form in the 1990s from the 1980s. It is the most important part of the Chinese popular culture to present the prosperous and developing scene in the new century. Family ethics drama is the product of Chinese real society. It not only vividly reproduces the family and social life mainly of husband and wife, but also creates many vivid male images. For example, male characters such as Wang Hu-sheng, Zhong Rui, aftertaste, Jin Liang and so on, became the symbolic male images of that period, and they showed the rich flavor of the times. This paper focuses on the family ethics drama which has won the Golden Eagle Award and the Flying Heaven Prize since the new century. This paper systematically analyzes the changing track of the typical male image in Chinese family ethics TV series since the new century, and analyzes the causes of the evolution of male image by using the relevant theories of communication, sociology and ethics. Through the analysis of typical cases, this paper probes into the value tendency in the design of male life track, thus opening up a wider space and possibility for the special research of Chinese family ethics TV series. This paper is divided into four chapters. The first chapter divides the family ethics drama into the initial stage of social transformation and the new century period from the angle of historical tense, the second chapter combs out the hero male image by combining the male image in the literary works before the 1990s. Chapter three focuses on the construction of the male image of the family ethics drama since the new century, and makes a case study and analysis of the important ethical drama. This paper analyzes the narrative mode of the male image's fate in the play, and analyzes the value tendency of the male image. Chapter four, from the perspective of cultural research, analyzes the deep connotation of male image change and value choice.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前9條

1 呂鵬;;父親、丈夫、兒子與情人:家庭倫理電視劇中的男性角色[J];重慶郵電大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2011年01期

2 戴清;人倫之和的主調(diào)與變奏——近年中國(guó)都市家庭倫理電視劇的審美文化批評(píng)[J];當(dāng)代電影;2005年02期

3 郝建;電視劇的兩種敘事者[J];當(dāng)代電影;1997年06期

4 方剛;;康奈爾和她的社會(huì)性別理論評(píng)述[J];婦女研究論叢;2008年02期

5 方剛;;男性氣概實(shí)踐的多樣性分析[J];暨南學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2007年06期

6 方剛;;Sexualities研究介入男性研究的意義與展望[J];中國(guó)性科學(xué);2005年12期

7 陳愛華;;吟唱個(gè)體生命的情感自由——論當(dāng)前家庭倫理劇敘事的“私人化”趨向[J];新聞知識(shí);2008年03期

8 李繼承;;基于認(rèn)同矩陣結(jié)構(gòu)的身份認(rèn)同建構(gòu)[J];魅力中國(guó);2009年28期

9 楊陽(yáng);把“難以言說”的故事說好──電視連續(xù)劇《牽手》導(dǎo)演闡述[J];中國(guó)電視;1998年12期

，

本文編號(hào)：1853466