本文選題：英國電視系列劇 + 類型特征��； 參考：《山東師范大學(xué)》2015年碩士論文

【摘要】：進(jìn)入新世紀(jì)以來，英國電視系列劇吸收了更多更現(xiàn)代的影視創(chuàng)作方法和藝術(shù)手段，在題材、人物、敘事等方面也與時(shí)俱進(jìn)、不斷創(chuàng)新，在繼承發(fā)揚(yáng)傳統(tǒng)英國電視劇特點(diǎn)的同時(shí)，，又具備了自身新的特質(zhì)。加之影視藝術(shù)作品創(chuàng)作方式的改進(jìn)，創(chuàng)作素材和信息獲取途徑的豐富，以及拍攝、播出體系的不斷健全和發(fā)展，使得廣大觀眾能夠接觸并欣賞到更多更出色的英國電視系列劇作品。另外，憑借其獨(dú)特的人文印記、多層次的民族精神氣質(zhì)以及顛覆性的異質(zhì)文化面貌吸引著廣泛的世界觀眾。 從《唐頓莊園》到《神探夏洛克》再到《黑鏡子》,英國電視系列劇以其短小精悍的含蓄美，在越來越拖拉的電視劇界一枝獨(dú)秀。這對目前國產(chǎn)劇量多而質(zhì)不精的國內(nèi)電視劇市場來說，有重要的借鑒意義。更重要的是，作為一個隨時(shí)在變化的行業(yè)，影視創(chuàng)作依托社會經(jīng)濟(jì)、文化以及人們的情感需求而變化。目前國內(nèi)影視學(xué)術(shù)研究領(lǐng)域的研究多偏向于導(dǎo)演藝術(shù)、社會文化及哲學(xué)層面，研究涉獵的對象也多偏向于經(jīng)典作品。相對而言把對當(dāng)下作品當(dāng)作研究對象，且是做本體分析的研究著作較為稀缺。因此，面對目前國內(nèi)電視劇市場中國產(chǎn)劇量多而質(zhì)不精這一現(xiàn)象，新世紀(jì)以來的英國電視系列劇的藝術(shù)特征是有著較高的研究價(jià)值的。 本論文主要從整體概述和個案解讀兩個層面，借助堅(jiān)實(shí)的理論支撐，將新世紀(jì)以來的英國電視系列劇看作一個整體，并通過結(jié)合具體英國電視系列劇作品對新世紀(jì)以來的英國電視系列劇藝術(shù)特征的表現(xiàn)及成因進(jìn)行分析，并在最后總結(jié)出英國電視系列劇對中國電視劇的啟示。本論文分為四部分： 第一部分主要分析英國電視系列劇的類別與類型，一是三大類別——時(shí)代劇、改編劇和現(xiàn)代劇，時(shí)代劇莊重典雅，改編劇嚴(yán)謹(jǐn)精致，現(xiàn)代劇個性突出甚至有些刻薄尖銳；二是類型化與類型元素雜糅，類型化使得英國電視系列劇有了相對穩(wěn)定的表現(xiàn)形式，而類型元素的雜糅豐富了觀眾的觀影體驗(yàn)。 第二部分分析英國電視系列劇的人物形象，應(yīng)于劇情的服裝造型和真實(shí)豐滿的內(nèi)在性格使得人物形象細(xì)膩別致。 第三部分分析英國電視系列劇的敘事特征：敘事結(jié)構(gòu)的多樣化、信息交代簡單明了、敘事時(shí)空的交替轉(zhuǎn)換增強(qiáng)了它的戲劇性節(jié)奏；人物臺詞簡潔幽默卻又包含豐富的言外之意；敘事情節(jié)生動豐富。 第四部分分析英國電視系列劇的藝術(shù)“基因”，英國文學(xué)名著為英國電視系列劇提供了故事的基本情節(jié)與人物形象的個性，以及用文學(xué)話語表達(dá)的細(xì)節(jié)。戲劇沖突和戲劇功力賦予了劇中角色深刻而豐富的內(nèi)在精神世界，英國式表演幾乎成了一種品質(zhì)的保證。電影蒙太奇技巧的借鑒使英國電視系列劇更擅長用畫面講故事。
[Abstract]:Since entering the new century, the British TV series has absorbed more and more modern methods of film and television creation and art, and has also kept pace with the times in terms of subject matter, characters, narration, etc., and has been constantly innovating, while inheriting and carrying forward the characteristics of traditional British TV dramas. With its own new characteristics. In addition, with the improvement of the way of creating film and television works of art, the enrichment of the ways of obtaining creative materials and information, and the continuous improvement and development of the system of shooting and broadcasting, So that the audience can access and enjoy more and better British television series works. In addition, with its unique humanistic imprint, multi-level national ethos and subversive heterogeneous cultural features, it attracts a wide range of world audiences. From Downton Abbey to Sherlock to Black Mirror, the British TV series, with its short, subtle beauty, is dominating the increasingly tardy world of television. This is of great significance to the domestic TV drama market, which has a large quantity and low quality. More importantly, as a changing industry, film and television creation depends on social economy, culture and people's emotional needs. At present, the research in the field of film and television academic research tends to be directed art, social culture and philosophy, and the object of study is also inclined to classical works. Comparatively speaking, the present works are regarded as the research objects, and the works of ontology analysis are scarce. Therefore, in the face of the phenomenon that the quantity and quality of Chinese TV dramas are not high, the artistic characteristics of British TV series since the new century have higher research value. This paper mainly from the overall overview and case interpretation of two levels, with the help of solid theoretical support, British television series since the new century as a whole, This paper analyzes the artistic features and causes of British TV series in the new century, and finally summarizes the enlightenment of British TV series to Chinese TV dramas. This paper is divided into four parts: The first part mainly analyzes the categories and types of British TV series, one is the three major categories-time dramas, writers and modern dramas, the times drama solemn and elegant, the writers strict and exquisite, modern drama personality prominent or even some sharp; The other is the blending of typology and typology, which makes the British TV series have a relatively stable form of expression, and the blending of typologies enriches the audience's experience of watching films. The second part analyzes the characters of the British TV series. The third part analyzes the narrative characteristics of British TV series: the variety of narrative structure, the simplicity of information, the alternation of narrative time and space enhance its dramatic rhythm; The narrative plot is vivid and rich. The fourth part analyzes the artistic "gene" of British TV series. The famous works of English literature provide the basic plot of the story and the personality of the characters, as well as the details expressed in the literary discourse for the British TV series. Drama conflict and drama power endow the characters with deep and rich inner spiritual world, and British performance almost becomes a guarantee of quality. The use of film montage techniques makes British television series better at telling stories with pictures.
【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】：2015
【分類號】：J905

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