本文選題：穿越電視劇 + 后現(xiàn)代主義��； 參考：《重慶大學(xué)》2014年碩士論文

【摘要】：隨著市場(chǎng)經(jīng)濟(jì)和文化市場(chǎng)的發(fā)展，穿越電視劇作為一種新興的電視劇題材席卷了各國(guó)網(wǎng)絡(luò)和熒屏，它以天馬行空的想象、時(shí)空交錯(cuò)的故事情節(jié)，獲得了眾多觀眾的喜愛(ài)與認(rèn)可。與穿越劇風(fēng)靡全球，創(chuàng)作方式不斷推陳出新相比，學(xué)術(shù)界對(duì)于其理論方面的研究略顯滯后，有些研究過(guò)于片面和主觀，有些研究只立足于本土，未有橫向上的剖析，具有全面整體性的研究更是少之又少。 本文主要以中韓幾部穿越劇為例，對(duì)中韓穿越劇受歡迎的原因進(jìn)行文化探析。選取韓國(guó)穿越劇作為研究我國(guó)穿越劇的理想文化研究樣本，是因?yàn)轫n國(guó)與我國(guó)共處“東亞文化圈”，擁有相似的傳統(tǒng)背景，在歷史上有相似的經(jīng)歷，深入研究韓國(guó)穿越劇，有助于我們更深層次的理解和解決國(guó)產(chǎn)穿越劇在創(chuàng)作中的諸多問(wèn)題。 本文具體思路如下：首先從理解“穿越”一詞入手，結(jié)合穿越劇的后現(xiàn)代主義特征和各國(guó)穿越劇的發(fā)展情況，指出穿越劇應(yīng)該屬于當(dāng)代神化題材電視劇類(lèi)型，并總結(jié)出衡量穿越劇的判斷標(biāo)準(zhǔn)；其次，分析中韓兩國(guó)穿越劇流行的原因。兩國(guó)穿越劇雖都在本國(guó)獲得較高收視率，但韓國(guó)穿越劇在世界范圍內(nèi)也占有一定市場(chǎng)份額，具體分析韓國(guó)穿越劇創(chuàng)作的藝術(shù)魅力；再次，中韓穿越劇創(chuàng)作方式各有千秋，總結(jié)導(dǎo)致這種狀況的文化原因；第四，從橫向上以《步步驚心》和《屋塔房王世子》為例，分析兩部作品因不同的文化背景而呈現(xiàn)出的在人物形象、情節(jié)設(shè)置等方面的差異；最后，國(guó)產(chǎn)穿越劇的發(fā)展遭遇瓶頸，而韓國(guó)穿越劇在電視劇市場(chǎng)中所占的份額卻在逐年上升，總結(jié)國(guó)內(nèi)穿越劇存在的問(wèn)題，即趣味庸俗，，內(nèi)容失實(shí)，同質(zhì)化嚴(yán)重，并從內(nèi)容、形式創(chuàng)新等方面提出一些思考。
[Abstract]:With the development of market economy and culture market, traversing TV series as a new kind of TV series has swept the network and screen of all countries. It has been loved and recognized by many viewers with the imagination of nature and space and the interlaced story of time and space. Compared with the popularity of traversing drama all over the world and the continuous innovation of creative methods, the academic research on its theory is slightly lagging behind, some of the studies are too one-sided and subjective, some studies are based only on the native land, and there is no horizontal analysis. Research with overall integrity is rare. This article mainly takes several Chinese and Korean traversing dramas as an example, carries on the cultural analysis to the Chinese and Korean traversing drama popular reason. The choice of Korean traversing drama as an ideal cultural research sample for studying Chinese traversing drama is because South Korea and China coexist in "East Asian Cultural Circle", have similar traditional background, have similar experiences in history, and deeply study Korean traversing drama. It helps us to understand and solve many problems in the creation of domestic traversing drama. The specific ideas of this paper are as follows: first, starting with the understanding of the word "through", combining with the postmodernism characteristics of traversing drama and the development of traversing drama in various countries, the author points out that traversing drama should belong to the TV drama type of contemporary deification subject matter. And summed up the criteria for judging the traversing drama; secondly, analyzed the reasons for the popularity of traversing drama between China and South Korea. Although both countries have gained high ratings in their own countries, Korean traversing dramas also have a certain market share in the world, specifically analyzing the artistic charm of Korean traversing dramas. Thirdly, the Chinese and Korean traversing dramas have their own unique ways of creating. The cultural reasons leading to this situation are summarized. Fourthly, the differences in characters and plot settings between the two works due to different cultural backgrounds are analyzed horizontally with the examples of "step by step surprise" and "the King's son of the Tower and House". Finally, the development of domestic traversing drama encounters a bottleneck, while the share of Korean traversing drama in the TV drama market is rising year by year. This paper summarizes the problems existing in the domestic traversing drama, that is, vulgar taste, false content, serious homogeneity, and from the content, Form innovation and other aspects put forward some thinking.
【學(xué)位授予單位】：重慶大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前9條

1 劉原;;探析電視穿越劇現(xiàn)象——電視劇《神話》研討會(huì)綜述[J];當(dāng)代電視;2010年03期

2 肖帥;;《神話》:亦幻亦真的時(shí)空穿越之旅[J];電視研究;2010年06期

3 許哲敏;;穿越劇流行背后的文化癥候探析[J];電視研究;2011年11期

4 隋巖;電視大眾文化的后現(xiàn)代表征[J];四川師范學(xué)院學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2002年06期

5 郎靜;;穿越時(shí)空的文化闡釋[J];牡丹江大學(xué)學(xué)報(bào);2011年10期

6 陳丹;;《愛(ài)情公寓1、2》的后現(xiàn)代特征解讀[J];美與時(shí)代(下);2012年03期

7 冷凇;張麗平;;影視“穿越”現(xiàn)象的理性思考——議當(dāng)代電影電視劇中的時(shí)空交錯(cuò)[J];現(xiàn)代視聽(tīng);2011年10期

8 劉彥超;;山寨文化現(xiàn)象探析[J];武警學(xué)院學(xué)報(bào);2009年03期

9 趙津晶;;從韓劇世界范圍的流行看當(dāng)代文化傳播的超方向性[J];現(xiàn)代傳播(中國(guó)傳媒大學(xué)學(xué)報(bào));2007年06期

本文編號(hào)：1991617