美國“真理喜劇”的文化研究
發(fā)布時間：2018-10-05 13:35
【摘要】：“真理喜劇”是上世紀九十年代末興起于歐美電視界的情景喜劇分支類型。現在,它與多機拍攝的傳統(tǒng)室內情景喜劇、單機拍攝的多場景情景喜劇一起,構成了歐美情景喜劇的三大樣式。由于“真理喜劇”在當下電視類型的橫向混雜發(fā)展趨勢中具有代表性,再加之它與表演/真實這一現代社會文化核心的密切勾連,為我們理解后現代語境下,電視類型是如何演進,如何與諸文化因素發(fā)生關系,如何重塑受眾對媒介以及現代生活的認識,提供了理想案例。 本文采用話語類型觀對“真理喜劇”進行研究。將“真理喜劇”這種類型創(chuàng)新不僅視為結果,而且視為進程,不僅視為經驗,而且視為實踐。以類型發(fā)展的文化進程為研究基礎,通過對大量與類型相關的話語事件及其之間配置關系的正確描述來統(tǒng)觀“真理喜劇”這一類型創(chuàng)新的源流、進程以及走向趨勢,梳理了美國真理喜劇的話語譜系。繼而,筆者又從“真理喜劇”文本特征、表演風格、文化價值這三個層面具體探討了“真理喜劇”的類型特征與文化因素之間相互作用的動態(tài)關聯。 從文本特征上看,“真理喜劇”是充斥著裂隙的“生產者式”文本。文本裂隙,于文本的靜態(tài)層面而言,體現為戲仿的矛盾性、互文召喚性以及多重意義的并呈；于實踐的動態(tài)層面而言,體現在戲仿的參與、互文解讀行為以及多元意義的生產�！罢胬硐矂 毕矂⌒缘陌l(fā)揮依賴于觀眾具有探索性和抵抗性的觀察式閱讀,觀眾通過這種閱讀方式所獲的也是超越順從意味的大眾快感。 .“真理喜劇”的表演區(qū)別于傳統(tǒng)情景喜劇,具有明顯的鏡頭在場意識與“即興”風格特征。演員與角色之間時而合一,時而間離的動態(tài)關系使得文本在真實與虛構之間游移,觀眾在對這種游離關系的辨識與判斷的過程中獲得快感,同時生產出多樣化的文本意義。 從價值層面思考,“真理喜劇”從內容到形式上都契合了當下懷疑主義的文化心理,解構了媒介的權威性與合法性,揭示了媒介以及當代社會的表演性。同時,“真理喜劇”也對“大眾式”的抵抗行為進行了反思,肯定了解構行為的進步性,但對其徹底的顛覆、解放功能持保留態(tài)度。這也是對“真理喜劇”媒介產品的屬性與解構媒介姿態(tài)之間所存在矛盾的自反式思考。 總之,“真理喜劇”的類型樣式革新體現出對表演與真實的關系這一核心文化命題的關注,打通了文本與人日常生活的隔。“真理喜劇”于題材內容和類型樣式上對現代人文化心理的雙重呼應,也正是對于我國情景喜劇發(fā)展的最大啟發(fā)。
[Abstract]:Truth comedy is a kind of sitcom branch that rose in European and American television in the late 1990's. Now, it is combined with traditional indoor sitcoms and multi-scene sitcoms, which constitute the three styles of European and American sitcoms. Because "Truth Comedy" is representative in the development trend of the transversely mixed development of the current TV type, coupled with its close connection with the core of modern social culture, performance / reality, we can understand the post-modern context. How the TV type evolves, how to relate to various cultural factors, how to reshape the audience's understanding of the media and modern life, provides an ideal case. This paper studies Truth Comedy by using the discourse type view. This type of innovation is regarded not only as a result, but also as a process, not only as experience, but also as practice. On the basis of the cultural process of type development, through the correct description of a large number of discourse events related to type and the relationship between them, the source, process and trend of the innovation of "truth comedy" are discussed. Combing the American truth comedy discourse pedigree. Then, the author probes into the dynamic relationship between the types of "truth comedy" and the cultural factors from three aspects: text characteristics, acting style and cultural value. In terms of textual features, Truth Comedy is a producer text full of cracks. The text fissure, in the static aspect of the text, is embodied in the contradiction of parody, the intertextuality of calling and the multi-meaning and presentation; in the dynamic aspect of practice, it is embodied in the participation of parody, the interpretation of intertextuality and the production of multiple meanings. The comedy of truth depends on the exploratory and resistant observational reading of the audience, through which the audience acquires the public pleasure beyond the submissive meaning. . The performance of Truth Comedy is different from that of traditional sitcoms and has the characteristics of scene consciousness and improvisation. The dynamic relationship between actors and characters sometimes makes the text move between truth and fiction. The audience obtains pleasure in the process of identifying and judging this kind of dissociated relationship and produces a variety of textual meanings at the same time. Considering from the value level, "Truth Comedy" accords with the cultural psychology of current skepticism in terms of content and form, deconstructs the authority and legitimacy of the media, and reveals the performance of the media and the contemporary society. At the same time, "Truth Comedy" also reflects on the resistance of "mass", affirms the progressive nature of deconstruction, but has reservations about its subversion and liberation function. This is also a reflexive reflection on the contradiction between the attributes of media products and the deconstruction of media postures. In a word, the innovation of the style of "Truth Comedy" reflects the concern of the core cultural proposition of the relationship between performance and reality, and clears the gap between the text and people's daily life. "Truth Comedy" echoes the cultural psychology of modern people in terms of content and type of subject matter, and it is also the greatest inspiration for the development of sitcoms in China.
【學位授予單位】：浙江師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J905
本文編號：2253586
[Abstract]:Truth comedy is a kind of sitcom branch that rose in European and American television in the late 1990's. Now, it is combined with traditional indoor sitcoms and multi-scene sitcoms, which constitute the three styles of European and American sitcoms. Because "Truth Comedy" is representative in the development trend of the transversely mixed development of the current TV type, coupled with its close connection with the core of modern social culture, performance / reality, we can understand the post-modern context. How the TV type evolves, how to relate to various cultural factors, how to reshape the audience's understanding of the media and modern life, provides an ideal case. This paper studies Truth Comedy by using the discourse type view. This type of innovation is regarded not only as a result, but also as a process, not only as experience, but also as practice. On the basis of the cultural process of type development, through the correct description of a large number of discourse events related to type and the relationship between them, the source, process and trend of the innovation of "truth comedy" are discussed. Combing the American truth comedy discourse pedigree. Then, the author probes into the dynamic relationship between the types of "truth comedy" and the cultural factors from three aspects: text characteristics, acting style and cultural value. In terms of textual features, Truth Comedy is a producer text full of cracks. The text fissure, in the static aspect of the text, is embodied in the contradiction of parody, the intertextuality of calling and the multi-meaning and presentation; in the dynamic aspect of practice, it is embodied in the participation of parody, the interpretation of intertextuality and the production of multiple meanings. The comedy of truth depends on the exploratory and resistant observational reading of the audience, through which the audience acquires the public pleasure beyond the submissive meaning. . The performance of Truth Comedy is different from that of traditional sitcoms and has the characteristics of scene consciousness and improvisation. The dynamic relationship between actors and characters sometimes makes the text move between truth and fiction. The audience obtains pleasure in the process of identifying and judging this kind of dissociated relationship and produces a variety of textual meanings at the same time. Considering from the value level, "Truth Comedy" accords with the cultural psychology of current skepticism in terms of content and form, deconstructs the authority and legitimacy of the media, and reveals the performance of the media and the contemporary society. At the same time, "Truth Comedy" also reflects on the resistance of "mass", affirms the progressive nature of deconstruction, but has reservations about its subversion and liberation function. This is also a reflexive reflection on the contradiction between the attributes of media products and the deconstruction of media postures. In a word, the innovation of the style of "Truth Comedy" reflects the concern of the core cultural proposition of the relationship between performance and reality, and clears the gap between the text and people's daily life. "Truth Comedy" echoes the cultural psychology of modern people in terms of content and type of subject matter, and it is also the greatest inspiration for the development of sitcoms in China.
【學位授予單位】：浙江師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J905
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