【摘要】：電視情景喜劇作為舶來品，在我國經(jīng)過二十年的本土化發(fā)展，已經(jīng)具有了獨特的創(chuàng)作模式與創(chuàng)作方式。從1993年的《我愛我家》到2014年的《愛情公寓4》，我們不難看出我國情景喜劇創(chuàng)作從最初的萌芽在一步一步地走向成熟，也逐漸成為了觀眾喜聞樂見的一種電視劇類型。雖然，情景喜劇落戶我國較晚，但是發(fā)展速度并不緩慢，創(chuàng)作方式也在不斷創(chuàng)新，特別是在敘事手法方面，已經(jīng)獨具特色。本文主要從敘事學(xué)角度對一些優(yōu)秀國產(chǎn)情景喜劇進(jìn)行分析，來探討我國情景喜劇敘事手法的流變之因和流變的體現(xiàn)，以期可以為中國情景喜劇今后的創(chuàng)作提供理論基礎(chǔ)，并能夠為情景喜劇理論研究開辟新的思路和新的視角。 本文主體部分總共分為四部分： 第一部分主要介紹情景喜劇的概念、特征，以及梳理我國電視情景喜劇的發(fā)展歷程。 第二部分首先理清情景喜劇與敘事的關(guān)系，闡明敘事之于情景喜劇的重要性，從而得出我國情景喜劇敘事手法的流變之因。本文認(rèn)為我國情景喜劇敘事手法發(fā)生流變的原因主要有兩點：一個是在大眾文化日益影響下，受眾審美需求不斷發(fā)生變化；二是創(chuàng)作者不斷革新創(chuàng)作觀，，敘事手法更加多樣化、成熟化。 第三部分將以各時期的國產(chǎn)優(yōu)秀情景喜劇為實例，在敘事文本、敘事結(jié)構(gòu)、敘事空間、敘事風(fēng)格等方面，來探討我國情景喜劇敘事手法的流變。 第四部分探討我國情景喜劇敘事手法在不斷借鑒、創(chuàng)新發(fā)展中得與失。本文認(rèn)為創(chuàng)新的敘事手法在增強喜劇效果、豐富敘事情節(jié)等方面取得了較好的效果，但是與此同時，這種創(chuàng)新對傳統(tǒng)的喜劇精髓沒有很好的得以繼承與發(fā)展，這又是我國情景喜劇在今后的創(chuàng)作中應(yīng)當(dāng)深思的。
[Abstract]:TV sitcom, as an import, has had a unique creation mode and creative way after 20 years of localization development in our country. From "I love my house" in 1993 to "Love apartment 4" in 2014, it is not difficult to see that the creation of sitcom in China has gradually become a kind of TV series that audiences like to see and mature step by step from the initial germination. Although sitcoms came to our country late, the speed of development is not slow, and the creative methods are innovating constantly, especially in the narrative techniques, which have been unique. This paper mainly analyzes some outstanding domestic sitcoms from the perspective of narratology, and discusses the causes and manifestations of the changes in the narrative techniques of Chinese sitcoms in order to provide a theoretical basis for the future creation of Chinese sitcoms. And it can open a new way of thinking and a new angle of view for the theoretical study of sitcom. The main body of this paper is divided into four parts: the first part mainly introduces the concept of sitcom, characteristics, and combing the development of TV sitcoms in China. The second part firstly clarifies the relationship between sitcom and narration, clarifies the importance of narrative to sitcom, and draws the reason of the change of narrative technique in Chinese sitcom. This paper holds that there are two main reasons for the change of narrative techniques in sitcom in China: one is that the aesthetic needs of the audience are constantly changing under the influence of popular culture, the other is that the creators are constantly innovating their creative ideas, and the narrative techniques are more diversified. Mature. The third part will take the domestic excellent sitcoms of each period as an example, in the narrative text, the narrative structure, the narrative space, the narrative style and so on, will discuss our country situation comedy narrative technique evolution. The fourth part discusses the situation comedy narrative techniques in our country in the continuous reference, innovation and development of gain and loss. This paper holds that the innovative narrative techniques have achieved better results in enhancing the comedy effect and enriching the narrative plot, but at the same time, this innovation has not been well inherited and developed to the essence of the traditional comedy. This is our country sitcom in the future creation should ponder.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

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2 張建珍;影像現(xiàn)實:媒介時代的情境喜劇[J];新聞與傳播研究;2002年02期

本文編號：2234632