發(fā)布時(shí)間：2018-05-24 12:18

  本文選題：新歷史主義 + 歷史文化紀(jì)錄片��； 參考：《南京師范大學(xué)》2013年碩士論文

【摘要】：自1980年的《絲綢之路》開始,歷史文化紀(jì)錄片就幾乎一直在中國的紀(jì)錄片發(fā)展史上扮演著重要角色。在視覺傳播盛行的當(dāng)下,它對(duì)我國歷史文化的傳播與傳承具有十分重要的意義。 新世紀(jì)以來,一批在敘事策略上呈現(xiàn)“新歷史主義傾向”的歷史文化紀(jì)錄片逐漸取代以往古板的歷史文化題材紀(jì)錄片,在取得良好收視的同時(shí)也將歷史與文化巧妙地融為一體。這批風(fēng)格鮮明的新世紀(jì)歷史文化紀(jì)錄片,實(shí)際是新一代紀(jì)錄片創(chuàng)作團(tuán)隊(duì)與紀(jì)錄片觀眾“共謀”的結(jié)果。 本文力圖運(yùn)用新歷史主義的方法和理論,分析新世紀(jì)歷史文化紀(jì)錄片的新變和一些重要命題。首先,從新歷史主義及影視史學(xué)與歷史文化紀(jì)錄片的內(nèi)在聯(lián)系入手,從整體上把握中國歷史文化紀(jì)錄片的發(fā)展歷程和新歷史主義對(duì)新世紀(jì)歷史文化紀(jì)錄片的影響。然后,著重考察該類紀(jì)錄片文化理念的變遷與敘事策略的轉(zhuǎn)型。最后,從觀眾的需求出發(fā),探討在當(dāng)前的時(shí)代背景下,該類紀(jì)錄片的傳播意義。 通過分析論述可見,自新世紀(jì)以來,歷史文化紀(jì)錄片的創(chuàng)作者是在“收視至上”和“泛娛樂化”的雙重壓力下進(jìn)行其創(chuàng)作理念的“新歷史轉(zhuǎn)向”的。在文化理念上,創(chuàng)作者將主流文化、大眾文化和精英文化相融合,使得該類紀(jì)錄片有了多重內(nèi)核；在文本層面,新世紀(jì)歷史文化紀(jì)錄片呈現(xiàn)出詩性振擺的總體特征,這種振擺在敘事策略的轉(zhuǎn)型中體現(xiàn)為敘事手法上的真實(shí)再現(xiàn)與情節(jié)化,敘事內(nèi)容上的大歷史與諸歷史相結(jié)合；新世紀(jì)歷史文化紀(jì)錄片的傳播意義主要體現(xiàn)為建構(gòu)文化認(rèn)同和重塑觀眾的歷史觀。
[Abstract]:Since the Silk Road in 1980, historical and cultural documentaries have played an important role in the history of Chinese documentaries. At present, visual communication is of great significance to the transmission and inheritance of Chinese history and culture. Since the new century, a number of historical and cultural documentaries, which present "new historicism tendency" in narrative strategy, have gradually replaced the historical and cultural documentaries of the past, which have achieved good viewing and skillfully integrated history and culture. This batch of distinctive historical and cultural documentaries in the new century is actually the result of "collusion" between the new generation documentary creation team and the documentary audience. This paper tries to use the method and theory of new historicism to analyze the new changes and some important propositions of historical and cultural documentaries in the new century. First of all, from the new historicism, film and television historiography and historical and cultural documentary of the inherent relationship, from the overall grasp of the development of Chinese historical and cultural documentaries and the impact of new historicism on the new century of historical and cultural documentaries. Then, focus on the cultural concept of this kind of documentary changes and narrative strategy transformation. Finally, this paper discusses the significance of this kind of documentary under the background of the current era. From the analysis and discussion, it can be seen that since the new century, the creators of historical and cultural documentaries have carried out the "new historical turn" of their creative ideas under the pressure of "viewing supreme" and "pan-entertainment". In terms of cultural concept, the creators combine mainstream culture, popular culture and elite culture, which makes this kind of documentary have multiple cores, and at the text level, the historical and cultural documentaries in the new century show the overall characteristics of poetic oscillation. In the transformation of narrative strategy, this kind of vibration is embodied in the true reappearance and plot of narrative technique, and the combination of great history and history in narrative content. The dissemination significance of historical and cultural documentaries in the new century is mainly embodied in the construction of cultural identity and the reconstruction of the audience's view of history.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J952;G206

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本文編號(hào)：1929022