發(fā)布時(shí)間：2018-06-05 11:52

  本文選題：新時(shí)期 + 影視劇��； 參考：《蘭州大學(xué)》2013年碩士論文

【摘要】：論文是對(duì)新時(shí)期我國重大革命歷史題材影視劇的專題研究,是在馬克思主義文藝觀的指導(dǎo)下,運(yùn)用“美學(xué)觀點(diǎn)”、“人學(xué)觀點(diǎn)”、“史學(xué)觀點(diǎn)”對(duì)新時(shí)期的重大革命歷史題材影視作品進(jìn)行審美的、人文的和社會(huì)歷史的解讀。通過對(duì)作品的藝術(shù)風(fēng)格、歷史精神和美學(xué)追求的文本分析,總結(jié)出自上個(gè)世紀(jì)80年代末期至今的重大革命歷史題材影視作品的媒介特征,明確了其在這一時(shí)期主流意識(shí)形態(tài)的建構(gòu)、國家形象的塑造以及國家文化軟實(shí)力的提升方面的文化責(zé)任。 迄今,沒有一種方法或視角能夠完全涵蓋大眾媒體研究的豐富性和多樣性。因?yàn)?作為藝術(shù)文本,影視作品的文學(xué)性決定了研究者不可能完全從文學(xué)和美學(xué)的領(lǐng)域中走出而后進(jìn)入影視研究。論文盡量避免從單純的經(jīng)驗(yàn)出發(fā)對(duì)影視樣本做鑒賞性的分析,而是有意識(shí)地借鑒文藝批評(píng)理論中的敘事理論、意識(shí)形態(tài)理論以及“文化詩學(xué)”的研究方法,嘗試在理論與經(jīng)驗(yàn)的結(jié)合中提煉出這一特殊影視題材類型的藝術(shù)價(jià)值和社會(huì)意義。 論文的創(chuàng)新之處在于,從藝術(shù)的角度充分肯定了重大革命歷史題材影視劇在建構(gòu)國家主流意識(shí)形態(tài)、引領(lǐng)社會(huì)先進(jìn)文化中的主導(dǎo)作用；從歷史發(fā)展和社會(huì)進(jìn)步的角度,將重大革命歷史題材影視劇創(chuàng)作與其它歷史題材作品進(jìn)行價(jià)值比對(duì),既承認(rèn)了影視文化藝術(shù)在科技和商業(yè)利益驅(qū)動(dòng)下的價(jià)值嬗變,也彰顯出重大革命歷史題材創(chuàng)作始終是以馬克思主義文藝觀作為基本立場和觀點(diǎn),將“人文”和“精神”作為思維主線的本質(zhì)特征。馬克思主義文藝觀將美學(xué)觀點(diǎn)與歷史觀點(diǎn)的結(jié)合作為文藝創(chuàng)作的最高標(biāo)準(zhǔn)。其中的“美學(xué)觀點(diǎn)”主要是一種現(xiàn)實(shí)主義美學(xué)原則,要求藝術(shù)家反映歷史生活時(shí),要遵循藝術(shù)創(chuàng)造的特殊規(guī)律,對(duì)于重大歷史事件要具有正確態(tài)度和正確美感,從而形成藝術(shù)作品較大的認(rèn)識(shí)價(jià)值和審美價(jià)值。因?yàn)闅v史是人類物質(zhì)實(shí)踐的過程；所以,將“人學(xué)觀點(diǎn)”引入“美學(xué)觀點(diǎn)”和“歷史觀點(diǎn)”,進(jìn)一步強(qiáng)調(diào)了歷史的人和人的歷史辯證統(tǒng)一于具有審美特性的文本之中。以人為本,實(shí)現(xiàn)美學(xué)精神、人文精神和歷史精神的有機(jī)統(tǒng)一,正是新時(shí)期重大革命歷史題材影視劇的審美價(jià)值追求。 作為中國影視劇中的“主旋律”作品,重大革命歷史題材由于其主流意識(shí)形態(tài)的本質(zhì)屬性,在影視藝術(shù)生產(chǎn)乃至整個(gè)文化生產(chǎn)中起著導(dǎo)向和示范作用。通過歷史的共時(shí)性,從國家的歷史維度為大眾勾勒出激勵(lì)公眾集體為之奮斗的民族國家的政治理想。在歷史敘事中表現(xiàn)時(shí)代精神,引領(lǐng)著社會(huì)主流的精神價(jià)值取向。 論文對(duì)藝術(shù)文本所在的特定文化語境也做了討論,強(qiáng)調(diào)了“文本生成”與文化語境的關(guān)系。從受眾的角度出發(fā),提出了在重大革命歷史題材影視創(chuàng)作中,“紅色題材”的經(jīng)典改編既是對(duì)重大題材創(chuàng)作的挑戰(zhàn)；同時(shí),在大眾文化繁榮發(fā)展的今天,也在不同程度地實(shí)現(xiàn)對(duì)高雅文本類型的傳承與創(chuàng)新。 最后,論文從時(shí)代要求和觀眾的審美需要出發(fā),圍繞著提升藝術(shù)創(chuàng)作質(zhì)量和奉獻(xiàn)藝術(shù)精品的歷史任務(wù),以追求“思想性、藝術(shù)性、欣賞性”的和諧統(tǒng)一為目標(biāo),從進(jìn)一步提高對(duì)創(chuàng)作此類重大題材影視劇的社會(huì)意義和文化價(jià)值的認(rèn)識(shí),在實(shí)踐中不斷吸收歷史學(xué)、傳播學(xué)、藝術(shù)學(xué)、社會(huì)學(xué)和美學(xué)研究的優(yōu)秀成果和科學(xué)方法,在提高重大革命歷史題材影視理論研究水平,借鑒小說、戲劇和詩歌創(chuàng)作中的反線性敘事的藝術(shù)成果,鞏固在經(jīng)典現(xiàn)實(shí)主義的影視劇創(chuàng)作中線性敘事方式的主導(dǎo)地位以及促進(jìn)重大革命歷史題材的創(chuàng)作隊(duì)伍在文化視野和藝術(shù)修養(yǎng)上的不斷拓展等四個(gè)方面分析了改進(jìn)和完善重大革命歷史題材影視劇創(chuàng)作的必要性。
[Abstract]:The thesis is a special study of the major revolutionary historical films and TV dramas of China in the new period. Under the guidance of Marx's view of literature and art, the author uses "aesthetic viewpoint", "human learning viewpoint" and "historical viewpoint" to carry on the aesthetic, humanistic and social history of the major revolutionary historical subjects in the new period. The text analysis of artistic style, historical spirit and aesthetic pursuit summarizes the media characteristics of the major revolutionary and historical themes from the late 80s of the last century to the present, and clarifies the cultural responsibility of the construction of the mainstream ideology in this period, the shaping of the national image and the promotion of the soft power of the national culture.
So far, no method or perspective can fully cover the richness and diversity of mass media research, because, as an artistic text, the literary nature of the film decides that researchers can not get out of the field of literature and aesthetics and go into film and television research. The appreciation analysis, but consciously draw on the narrative theory of literary criticism, ideological theory and the research method of "Cultural Poetics", try to extract the artistic value and social significance of this special type of film and television subject in the combination of theory and experience.
The innovation of this paper is that, from the angle of art, it fully affirms the leading role of the major revolutionary history films and TV plays in the construction of the mainstream ideology of the country and leading the advanced culture of the society. From the perspective of historical development and social progress, the value of the film and TV dramas of the major revolutionary historical themes is compared with the other historical themes. It not only recognizes the evolution of the value of film and television culture and art in the interests of science and technology and commerce, but also shows that the major revolutionary historical themes have always been based on Marx's view of literature and art as the basic position and view, and the essence of "humanism" and "spirit" as the main line of thinking. The Marx theory of literature and art is the aesthetic viewpoint and calendar. The combination of historical views is the highest standard of literary and artistic creation. The "aesthetic point of view" is mainly a realistic aesthetic principle, which requires the artists to reflect the historical life, follow the special laws of artistic creation, and have a correct attitude and correct aesthetic feeling for the major historical events, thus forming a greater understanding value of the art works. Because history is the process of human physical practice, the "view of human studies" is introduced into the "aesthetic point of view" and "historical viewpoint", and the historical dialectical unity of the historical dialectical unity in the text with aesthetic characteristics is further emphasized. Unity is the pursuit of aesthetic value of the major revolutionary historical themes in the new era.
As the "main theme" in the Chinese film and television drama, the major revolutionary historical themes play a guiding and exemplary role in the production of film and television and even the whole cultural production because of the essential attributes of the mainstream ideology. The political ideal of the country shows the spirit of the times in the historical narrative and leads the spiritual value orientation of the mainstream of the society.
The paper also discusses the specific cultural context of the art text, emphasizing the relationship between "text generation" and cultural context. From the perspective of the audience, the classic adaptation of "red subject" is not only a challenge to the creation of major themes, but also the prosperity and development of mass culture in the film and television creation of the major revolutionary historical themes. Today, we also realize the inheritance and innovation of the elegant text types to varying degrees.
Finally, starting from the requirements of the times and the aesthetic needs of the audience, the thesis focuses on the historical task of improving the quality of artistic creation and the dedication of the fine arts, and aims at the pursuit of the harmony and unity of "ideological, artistic and appreciative", and to further improve the understanding of the social and cultural values of the creation of such major theme and television dramas. The outstanding achievements and scientific methods of the study of history, communication, art, sociology and aesthetics are continuously absorbed in the practice of improving the theoretical research level of the film and television theory of the major revolutionary historical themes, drawing on the artistic achievements of the anti linear narrative in the novels, drama and poetry, and consolidating the linear narrative mode in the creation of classic realism. The necessity of improving and perfecting the creation of major revolutionary historical films and TV dramas is analyzed in the four aspects of the leading position and the creative team promoting the historical themes of the major revolution in the cultural field of vision and the continuous expansion of artistic accomplishment.
【學(xué)位授予單位】：蘭州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905

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