本文選題：大眾文化 + 中國穿越劇�。� 參考：《山東師范大學(xué)》2014年碩士論文

【摘要】：自20世紀(jì)90年代起，大眾文化以一種勢不可擋的姿態(tài)迅速占領(lǐng)了市場，大眾文化的發(fā)展深刻影響了人們的日常生活習(xí)慣和文化審美觀念，，一種新的文化格局逐漸形成。與此同時，影視劇在大眾文化的影響之下，逐漸擺脫了以“教育為主”的功用，開始朝著娛樂化、商品化、世俗化的方向發(fā)展。90年代末新世紀(jì)初，《戲說乾隆》、《宰相劉羅鍋》、《還珠格格》、神話劇《春光燦爛豬八戒》、情景喜劇《武林外傳》等戲說劇的出現(xiàn)直接顛覆了人們對傳統(tǒng)電視劇的審美期待。隨著大眾文化的迅速發(fā)展，一種新的電視劇樣式——穿越劇在經(jīng)過幾年摸爬滾打的探索期之后，在2011年如大潮一般地席卷了影視劇的市場，開始在電視劇大家庭中占據(jù)了極為重要的一席之地。本文旨在探究中國穿越劇在大眾文化語境下呈現(xiàn)出的種種特點，并探索穿越劇的出現(xiàn)以及在近年來的熱播所呈現(xiàn)的現(xiàn)實價值，最后指出中國穿越劇的發(fā)展困境并對其作出展望。另外要說明的是，本文所指涉的中國穿越劇，包含中國大陸穿越劇，以及部分港臺穿越劇，但以大陸穿越劇為主。 本論文分為三個部分，第一部分為緒論，首先簡單闡述中國穿越劇在我國的發(fā)展?fàn)顩r，其次對目前學(xué)術(shù)界在中國穿越劇問題上的研究現(xiàn)狀做出綜述；最后指出文章的價值意義所在。 第二部分為本文的正文部分，分為四章。第一章，大眾文化語境下中國穿越劇的興起與發(fā)展。第一節(jié)，中國穿越劇的興起，主要闡述中國穿越劇興起的文化語境，并為“中國式穿越劇”做出界定；第二節(jié)，中國穿越劇的發(fā)展概貌，對近二十年中國穿越劇的發(fā)展歷程做一個詳細(xì)的梳理。第二章，大眾文化語境下中國穿越劇的特征分析，分為三節(jié)。第一節(jié)著力探討中國穿越劇的敘事策略，主要從情節(jié)、人物、時空、類型元素四個方面展開論述；第二節(jié)闡述中國穿越劇的影像風(fēng)格，從穿越劇的喜劇元素、明星策略以及數(shù)字媒體技術(shù)的運用三方面進(jìn)行分析。第三章，大眾文化語境下中國穿越劇的價值探析，主要從娛樂價值和商業(yè)價值兩方面展開論述。第四章，大眾文化語境下中國穿越劇發(fā)展的困境及展望。第一節(jié)，中國穿越劇之“傷”，主要從中國穿越劇的文化內(nèi)涵及藝術(shù)形式兩方面來論述；第二節(jié)，中國穿越劇發(fā)展之展望，指出中國穿越劇的發(fā)展應(yīng)朝向三個方面，一是創(chuàng)作者大開思維之門，拓寬穿越劇的題材，突破舊有的劇情模式，挖掘出新的亮點；二是作品創(chuàng)作需權(quán)衡歷史真實與藝術(shù)虛構(gòu)之間的平衡關(guān)系，為展現(xiàn)中國傳統(tǒng)歷史文化做出努力；三是作品要有一定的主題內(nèi)涵，體現(xiàn)一種正確的價值觀。 縱觀中國穿越劇的發(fā)展歷程，不難發(fā)現(xiàn)，中國穿越劇在近年來的井噴式發(fā)展，是大眾文化的影響力呈現(xiàn)在電視劇領(lǐng)域一個的力證。但是中國穿越劇在獲得高收視率的同時，其本身暴露出的問題也顯而易見，中國穿越劇必須在作品質(zhì)量上下足功夫，克服自身弊端，做精、做好，不僅好看，還有正面的價值意義，才能作為一種新的電視劇樣式獲得長遠(yuǎn)的發(fā)展。
[Abstract]:Since 1990s, mass culture has occupied the market rapidly in an unstoppable manner. The development of mass culture has deeply affected people's daily habits and cultural aesthetic concepts. A new cultural pattern has gradually formed. At the same time, the film and TV play has gradually removed from "education based" under the influence of mass culture. At the end of the new century at the end of the.90 era, the function of the entertainment, the commercialization and the secularization began to develop in the new century at the end of the new century. The appearance of the dramas, such as "the Emperor Qianlong", "Liu Luoguo", "Zhu GG", the mythological drama, "the eight ring of the spring, the eight ring of the bright and brilliant", the sitcom "Wulin" and so on, directly subverted the aesthetic expectations of the traditional TV dramas. Fast development, a new style of TV drama - after a few years of exploring and rolling through the drama, in 2011, it generally swept the market of movie and TV drama, and began to occupy a very important place in the TV drama family in 2011. Point, and explore the appearance of Yue Opera and the realistic value of the hot broadcast in recent years. Finally, it points out the development predicament and Prospect of the Chinese opera in Vietnam. In addition, it should be explained that the Chinese wear drama involved in this article, including the Chinese mainland in Yue opera, and the part of Hong Kong and Taiwan through Yue opera, is mainly on the mainland.
This paper is divided into three parts. The first part is the introduction. First, it briefly expounds the development of Chinese traversing drama in China, and then summarizes the current status of the study on the issue of Yue Opera in China. Finally, it points out the significance of the article.
The second part is the body part of this article, which is divided into four chapters. Chapter 1, the rise and development of China's Cross opera in the context of mass culture. The first section, the rise of China's Cross drama, mainly expounds the cultural context of the rise of Chinese traverses, and defines the "Chinese style Yue Opera"; the second section, the outline of the development of China's Vietnam drama, to nearly twenty In the second chapter, the analysis of the characteristics of the Chinese opera in the mass cultural context is divided into three sections. The first section focuses on the narrative strategies of the Chinese opera, mainly from four aspects of the plot, the characters, the time and space and the type elements; and the second section describes the image style of the Chinese opera. From three aspects of the comedy elements, the star strategy and the application of the digital media technology. The third chapter, the value analysis of the Chinese opera in the popular culture context, mainly from two aspects of the entertainment value and the commercial value. Fourth chapter, the predicament and Prospect of the development of China's Vietnam Opera in the context of mass culture. The "injury" of China's Yue Opera is mainly discussed from two aspects of the cultural connotation and artistic form of China's Cross opera; the second section, the prospect of the development of China's Yue opera, points out that the development of the Chinese opera should be directed towards three aspects, one is the creator's door of thinking, the widening of the theme of the Yueju Opera, the breakthrough of the old plot pattern, and a new excavation The two is that the creation of the works should balance the balance between the historical truth and the art fiction, and make efforts to show the traditional Chinese history and culture; the three is that the works should have a certain theme and reflect the correct values.
It is not difficult to find out that the development of Chinese opera in recent years, the development of blowout in recent years, is the strength of the popular culture in the field of TV drama. However, while Chinese traversing plays are gaining high ratings, the problems that they expose are also obvious. We should overcome our shortcomings, do well and do well, not only good-looking, but also have positive value significance, so that we can get a long-term development as a new TV play style.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

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