本文選題：諜戰(zhàn)劇 + 傳播內容��； 參考：《重慶工商大學》2013年碩士論文

【摘要】：新世紀以來，諜戰(zhàn)題材電視劇在電視屏幕上風生水起，從《暗算》、《潛伏》到《黎明之前》，再到近期播出的《懸崖》，觀眾無不喜聞樂道。諜戰(zhàn)劇的方興未艾有著深層的社會文化原因：首先，諜戰(zhàn)劇的宏大敘事契合了當前的主流價值觀；其次，諜戰(zhàn)劇陌生化的故事情節(jié)、緊張刺激的戲劇沖突滿足了消費市場受眾的審美趣味；最后，劇中新英雄主義的出現(xiàn)實現(xiàn)了和平年代受眾的英雄夢。 在市場化的作用下，諜戰(zhàn)題材電視劇已經(jīng)逐漸演變一種成熟類型劇，擁有了一定的生產(chǎn)規(guī)模和產(chǎn)量，在其創(chuàng)作過程中也逐漸呈現(xiàn)出若干類型元素、程式化的敘事方式和特定的受眾接受心理特征。然而學界對諜戰(zhàn)劇的研究多數(shù)致力于諜戰(zhàn)劇的個案研究或敘事策略研究，對其作為一種類型劇的傳播學解讀還較欠缺。理論研究的忽視導致受眾對諜戰(zhàn)劇缺乏一個直觀的全面的認知，對其目前所出現(xiàn)的問題、困境也難有創(chuàng)造性的解答。本文在梳理諜戰(zhàn)劇發(fā)展歷程的基礎上，對諜戰(zhàn)劇作出定義，分析出諜戰(zhàn)劇的傳播內容，即其類型元素；結合敘事學和大眾傳播學的相關理論，從熱播的諜戰(zhàn)題材電視劇中選出《暗算》、《潛伏》、《黎明之前》和《懸崖》等具有典型代表的電視劇為依托，以符號學、心理學、女性主義、西方結構主義敘事學和使用與滿足理論為理論工具，深度解析新世紀諜戰(zhàn)劇的發(fā)展與傳播，并在文章最后指出當前諜戰(zhàn)劇的生存困境與創(chuàng)新發(fā)展之路，以冀能為新世紀諜戰(zhàn)劇的理論研究和創(chuàng)作實踐盡一份綿薄之力。 本文包括緒論、正文、結語三個部分。緒論部分闡述文章的研究背景、文獻綜述、創(chuàng)新之處和研究方法。第一章是諜戰(zhàn)劇的概況，梳理我國諜戰(zhàn)劇發(fā)展的三段歷程，從反特片到諜戰(zhàn)片的完美演變，并簡要闡述了諜戰(zhàn)劇作為一種類型劇的發(fā)展情形；第二章從分析諜戰(zhàn)劇的故事情節(jié)和人物形象等類型元素入手，分析諜戰(zhàn)劇的傳播內容；第三章從敘事學理論出發(fā)，，分析諜戰(zhàn)劇的敘事特征：首先是諜戰(zhàn)劇的敘事策略研究，包括敘事結構、敘事視角和敘事話語，隨后從政治、經(jīng)濟和文化角度分別分析其敘事內涵；第四章從“使用與滿足”理論出發(fā)，研究諜戰(zhàn)劇的受眾心理及其傳播效果；第五章分析目前諜戰(zhàn)劇面臨的困境：傳播內容雷同與傳播文化低俗，以此提出反類型和類型融合是其可取的兩種突圍策略；最后在結語部分再次強調諜戰(zhàn)劇作為類型劇取得的成功，并重申其現(xiàn)實困境，期待通過各方的繼續(xù)努力，使諜戰(zhàn)劇能夠永葆繁榮，“諜諜”不休。
[Abstract]:Since the new century, espionage TV dramas on the television screen, from "secret calculation", "latent" to "before dawn", to the recent broadcast of "Cliff", the audience is happy to hear. There are deep social and cultural reasons for the rise of espionage dramas: first, the grand narrative of espionage shows fits into the mainstream values; secondly, the story of espionage dramas is unfamiliarized. The tense and exciting drama conflict satisfies the aesthetic taste of the consumer market audience. Finally, the emergence of the new heroism in the play realizes the heroic dream of the audience in peacetime. Under the role of marketization, espionage TV series has gradually evolved a mature type of drama, with a certain scale of production and production, and in the process of its creation, it has gradually presented a number of types of elements. A stylized narrative and psychological characteristics of a particular audience. However, the study of espionage drama is mostly devoted to the case study or narrative strategy study of espionage drama, and its interpretation as a type of drama is still lacking. The neglect of theoretical research leads to the audience's lack of an intuitive and comprehensive understanding of espionage dramas, and it is difficult to find creative solutions to the current problems. On the basis of combing the development of espionage drama, this paper defines espionage drama, analyzes the content of espionage drama, that is, the elements of its type, and combines the related theories of narratology and mass communication. From popular espionage TV dramas, such as "secret calculation", "latent", "before dawn" and "Cliff" are selected as typical TV dramas, which are based on semiotics, psychology, feminism, etc. The western structuralism narratology and the theory of using and satisfying are theoretical tools to deeply analyze the development and dissemination of espionage in the new century. At the end of the article, the author points out the dilemma of existence and the way of innovation and development of the current espionage. Ji can contribute to the theoretical research and creative practice of espionage drama in the new century. This paper includes three parts: introduction, text and conclusion. The introduction part describes the research background, literature review, innovation and research methods. The first chapter is the general situation of espionage drama, combing the three stages of the development of spy war drama in China, from anti-special film to spy war film perfect evolution, and briefly expounds the development of spy war drama as a type of drama; The second chapter begins with the analysis of the story plot and character image of espionage drama, and analyzes the content of espionage drama; the third chapter analyzes the narrative characteristics of espionage drama from the perspective of narratology: first, the research on narrative strategy of espionage drama. It includes narrative structure, narrative perspective and narrative discourse, and then analyzes its narrative connotation from political, economic and cultural perspectives. Chapter four studies the audience psychology and its spreading effect of espionage drama based on the theory of "use and satisfaction". The fifth chapter analyzes the predicament that the espionage drama faces at present: the communication content is the same and the communication culture is vulgar, so as to put forward the anti-type and the type fusion are its two desirable breakthrough strategies; Finally, in the conclusion part, the author emphasizes the success of espionage drama as a type of drama, and restates its realistic predicament, and hopes that through the continued efforts of all parties, the espionage drama can remain prosperous forever, "spy" endlessly.
【學位授予單位】：重慶工商大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：G206;J905

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