本文選題：網(wǎng)絡(luò)劇 + 解構(gòu)��； 參考：《吉林大學(xué)》2015年碩士論文

【摘要】：2010年被稱為“網(wǎng)絡(luò)自制劇元年”，隨著廣電總局對網(wǎng)絡(luò)侵權(quán)影視作品的打擊，國內(nèi)各大視頻網(wǎng)站開始投放大量自制內(nèi)容，網(wǎng)絡(luò)自制劇一時間大范圍出現(xiàn)在公眾視野。然而由于社會心理、網(wǎng)絡(luò)文化、資金、稚嫩的產(chǎn)業(yè)鏈以及網(wǎng)絡(luò)技術(shù)等因素的影響，使得初出茅廬的網(wǎng)絡(luò)自制劇發(fā)展失衡，呈現(xiàn)出濃重的后現(xiàn)代特征。其去中心化的敘事結(jié)構(gòu)、“符號”式的人物以及惡搞的審美風(fēng)格均表現(xiàn)出對傳統(tǒng)電視劇敘事模式的解構(gòu)之思。 解構(gòu)主義作為后現(xiàn)代思想的理論基礎(chǔ)，提倡破壞一切既有結(jié)構(gòu)與規(guī)則，解構(gòu)中心，解構(gòu)權(quán)威。然而我們必須注意到的是網(wǎng)絡(luò)自制劇在解構(gòu)傳統(tǒng)敘事模式的同時導(dǎo)致了一種零散、虛無的敘事形態(tài)被建立，使其陷入了悖論的漩渦。碎片化的敘事結(jié)構(gòu)阻礙了故事情節(jié)的完整表達(dá)，，解構(gòu)了劇的靈魂；“符號”式的人物塑造方式導(dǎo)致了人物形象的扁平化、漫畫化，人的主體性隨之消解；惡搞式的審美風(fēng)格打破了傳統(tǒng)審美標(biāo)準(zhǔn)，造成小眾性的審美視角無法融入大眾視野，這些均成為當(dāng)今中國網(wǎng)絡(luò)自制劇的致命傷。眾所周知后現(xiàn)代精神是對現(xiàn)存不完善的秩序的反抗，希望通過反抗達(dá)到多元與平等。在網(wǎng)絡(luò)自制劇中傳統(tǒng)敘事模式遭到解構(gòu)，零散的敘事形態(tài)被建立，實則是從一種單一走入另一種單一，多元與平等不但沒能實現(xiàn)，反而帶來了無盡的平面與虛空。解構(gòu)之下的網(wǎng)絡(luò)自制劇故事情節(jié)、人情物理、邏輯關(guān)聯(lián)、美感意境全都無跡可尋，只余留無養(yǎng)分的玩笑吸引觀眾。 在對舊有形式進(jìn)行反抗之后，自己卻背離了反抗的初衷，陷入悖論的泥潭，這便是中國網(wǎng)絡(luò)自制劇的生存現(xiàn)狀，同時也是目前中國網(wǎng)絡(luò)文化的通病。雖然幽默喜劇能夠短時間吸引關(guān)注度，但長此以往沒有亮點留住人們的眼球，網(wǎng)絡(luò)自制劇或?qū)⒆呷胨篮?br/>[Abstract]:2010 is called "the first year of network self-production". With the attack on network infringement of film and television works by the State Administration of Radio, Film and Television, various domestic video websites have begun to put in a large number of homemade content, and the network self-production has appeared in a wide range of public eyes for a long time. However, due to the influence of social psychology, network culture, capital, immature industrial chain and network technology, the development of the fledgling network self-production is out of balance, showing a strong post-modern characteristics. Its decentralized narrative structure, "symbol" characters and playful aesthetic style all show the deconstruction of the narrative mode of traditional TV plays. Deconstruction, as the theoretical basis of postmodern thought, advocates the destruction of all existing structures and rules, deconstruction centers and deconstruction authority. However, we must pay attention to the fact that while deconstructing the traditional narrative mode, the network self-made play has led to the establishment of a scattered, nihilistic narrative pattern, which makes it fall into a paradox vortex. The fragmented narrative structure hinders the complete expression of the story plot and deconstructs the soul of the play; The mischievous aesthetic style has broken the traditional aesthetic standard and caused the minority aesthetic angle of view to be unable to be integrated into the public view, which has become the fatal injury of China's network self-production. It is well known that the post-modern spirit revolts against the existing imperfect order and hopes to achieve pluralism and equality through resistance. The traditional narrative mode has been deconstructed and the scattered narrative form has been established in the self-production of the network. In fact, it is from one kind of single to the other. Pluralism and equality have not only failed to realize, but also brought endless plane and emptiness. Under the deconstruction of the network of self-production story plot, human physics, logical correlation, aesthetic mood all have no trace to find, only the lack of nutrients to attract the audience jokes. After resisting the old form, he deviated from the original intention of resistance and got into the quagmire of paradox. This is the survival situation of Chinese network self-made drama and the common problem of Chinese network culture at the same time. While humorous comedies can attract attention in a short period of time, there is no bright spot to keep people's eyes in the long run, and online dramas may end up in a dead end.
【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J905

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