傳播與文化視域中的中國家庭倫理劇研究
發(fā)布時間：2018-10-13 10:01
【摘要】：當下,家庭倫理劇的火爆已成為一種備受關注的傳播現(xiàn)象與文化現(xiàn)象。作為當今熒屏的寵兒,作為電視劇市場的天之驕子,其高產(chǎn)量、高收視率、高獲獎率無不令其它類型的電視劇眼熱三分。與此同時,伴隨著家庭倫理劇的“叫好”與數(shù)量的激增,情節(jié)雷同、故事離奇、價值失范等負面影響也日益彰顯。作為貼近民眾、貼近生活、貼近社會的媒介產(chǎn)品,它與國之大家、民之小家密切相關,故其文本內(nèi)容與文化內(nèi)涵也值得我們進一步探討與深思。鑒于此,筆者從傳播與文化的視角出發(fā),運用跨學科的研究方法對20世紀90年代以來的中國家庭倫理劇進行詳盡而深入的分析。 首先,筆者通過梳理中國家庭倫理劇的歷史軌跡與發(fā)展脈絡,指出家庭倫理劇的發(fā)展主要歷經(jīng)了三個階段：萌芽期、發(fā)展期和繁榮期,其敘事對象和命題越來越走向多元化、大眾化,并且由于家庭倫理劇對象的大眾性與內(nèi)容的娛樂性,造成其受眾面廣,影響力大 其次,筆者從傳播學的角度切入,借用影視類型學、影視敘事學、涵化理論、編碼與解碼等多種理論,從傳播語境、傳播文本、傳播效果三個層面對家庭倫理劇進行了全面的考察與解析。論文指出,家庭倫理劇之所以得以生存、發(fā)展與壯大,與其牢牢植根于政治、經(jīng)濟、社會語境密不可分；同時,從敘事學角度考察,也與其作為類型劇息息相關。它建構了一系列關于男性與女性、城市與農(nóng)村、傳統(tǒng)與現(xiàn)代的二元對立,形成了獨具匠心的敘事策略,且隱含了主流意識形態(tài)的導向。此外,論文也指出盡管家庭倫理劇竭力為受眾建構一個仿真的現(xiàn)實,不露聲色地打造社會共識,但鑒于受眾特殊的社會屬性,其傳播效果與傳者最初的意圖有時會出現(xiàn)偏差。 最后,筆者從傳統(tǒng)文化、文化產(chǎn)業(yè)、大眾文化等多維視角切入,討論家庭倫理劇在文化領域中的復雜影響。一方面,家庭倫理劇向觀眾極力展現(xiàn)夫妻之倫、兄弟之倫、代際之倫等傳統(tǒng)文化的精髓要義。另一方面,為了迎合市場,它也在走向文化工業(yè)的生產(chǎn)模式,并且在價值觀上展現(xiàn)了告別崇高、告別英雄敘事、走向多元價值觀的趨勢,而這些也正是后現(xiàn)代社會的文化表征 當然,在肯定家庭倫理劇的諸多傳統(tǒng)要素與現(xiàn)代特征的同時,我們也必須注意,作為文化工業(yè)的產(chǎn)品,其很容易在消費主義的刺激下異化為一種苦情戲、奇觀戲的建構。我們必須牢記,藝術來源于生活,家庭倫理劇在今后的發(fā)展道路上應多接點“地氣”,少一點煽情與虛夸,惟其如此,才能為廣大民眾提供更多更好的精品。
[Abstract]:At present, the popularity of family ethics drama has become a concerned phenomenon of communication and culture. As the favorite of today's screen, as the market of TV series, its high production, high ratings, high winning rate all make other types of TV series hot eye. At the same time, along with the family ethics drama "praise" and the proliferation of the number, the plot is similar, the story is strange, the value is out of order and so on the negative influence also manifests day by day. As a media product which is close to the people, life and society, it is closely related to the people and the small family of the people, so its text content and cultural connotation are also worthy of our further discussion and deep thinking. In view of this, from the perspective of communication and culture, the author makes a detailed and in-depth analysis of Chinese family ethics drama since the 1990s by using interdisciplinary research methods. First of all, the author points out that the development of family ethics drama has gone through three stages: budding period, developing period and prosperity period, and its narrative objects and propositions are becoming more and more diversified by combing the historical track and development thread of Chinese family ethics drama. Popular, and because of the popularity of the family ethics drama object and the entertainment of the content, it is popular and influential, the author cuts in from the angle of communication, borrows the film and television typology, the film and television narratology, The theories of acculturation, coding and decoding have made a comprehensive investigation and analysis on family ethics drama from three aspects: communication context, communication text and communication effect. The paper points out that the survival, development and growth of family ethics play are closely related to its political, economic and social context, and is closely related to its type play from the perspective of narratology. It constructs a series of dualistic opposites between men and women, between cities and countryside, between tradition and modern, and forms a unique narrative strategy, which implies the orientation of mainstream ideology. In addition, the paper also points out that although family ethics dramas strive to construct a simulated reality for the audience and build a social consensus quietly, in view of the special social attributes of the audience, the communication effect of the drama sometimes deviates from the original intention of the communicator. Finally, from the perspective of traditional culture, cultural industry and mass culture, the author discusses the complex influence of family ethics drama in the field of culture. On the one hand, family ethics plays show the essence of traditional culture, such as husband and wife, brother and intergenerational. On the other hand, in order to cater to the market, it is also moving towards the production mode of cultural industry, and shows the trend of farewell to sublime, farewell to heroic narration and pluralistic values in the values. And these are the cultural symbols of post-modern society. Of course, while affirming many traditional elements and modern features of family ethics dramas, we must also pay attention to them as products of the cultural industry. It is easy to dissimilate into a kind of bitter drama and the construction of spectacle play under the stimulation of consumerism. We must bear in mind that art originates from life, and that family ethics plays should touch the ground more in the future, with less sensationalism and falsehood. Only in this way can we provide more and better quality works for the general public.
【學位授予單位】：湖南師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J905;G206
[Abstract]:At present, the popularity of family ethics drama has become a concerned phenomenon of communication and culture. As the favorite of today's screen, as the market of TV series, its high production, high ratings, high winning rate all make other types of TV series hot eye. At the same time, along with the family ethics drama "praise" and the proliferation of the number, the plot is similar, the story is strange, the value is out of order and so on the negative influence also manifests day by day. As a media product which is close to the people, life and society, it is closely related to the people and the small family of the people, so its text content and cultural connotation are also worthy of our further discussion and deep thinking. In view of this, from the perspective of communication and culture, the author makes a detailed and in-depth analysis of Chinese family ethics drama since the 1990s by using interdisciplinary research methods. First of all, the author points out that the development of family ethics drama has gone through three stages: budding period, developing period and prosperity period, and its narrative objects and propositions are becoming more and more diversified by combing the historical track and development thread of Chinese family ethics drama. Popular, and because of the popularity of the family ethics drama object and the entertainment of the content, it is popular and influential, the author cuts in from the angle of communication, borrows the film and television typology, the film and television narratology, The theories of acculturation, coding and decoding have made a comprehensive investigation and analysis on family ethics drama from three aspects: communication context, communication text and communication effect. The paper points out that the survival, development and growth of family ethics play are closely related to its political, economic and social context, and is closely related to its type play from the perspective of narratology. It constructs a series of dualistic opposites between men and women, between cities and countryside, between tradition and modern, and forms a unique narrative strategy, which implies the orientation of mainstream ideology. In addition, the paper also points out that although family ethics dramas strive to construct a simulated reality for the audience and build a social consensus quietly, in view of the special social attributes of the audience, the communication effect of the drama sometimes deviates from the original intention of the communicator. Finally, from the perspective of traditional culture, cultural industry and mass culture, the author discusses the complex influence of family ethics drama in the field of culture. On the one hand, family ethics plays show the essence of traditional culture, such as husband and wife, brother and intergenerational. On the other hand, in order to cater to the market, it is also moving towards the production mode of cultural industry, and shows the trend of farewell to sublime, farewell to heroic narration and pluralistic values in the values. And these are the cultural symbols of post-modern society. Of course, while affirming many traditional elements and modern features of family ethics dramas, we must also pay attention to them as products of the cultural industry. It is easy to dissimilate into a kind of bitter drama and the construction of spectacle play under the stimulation of consumerism. We must bear in mind that art originates from life, and that family ethics plays should touch the ground more in the future, with less sensationalism and falsehood. Only in this way can we provide more and better quality works for the general public.
【學位授予單位】：湖南師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J905;G206
【參考文獻】
相關期刊論文 前10條
1 戴清;人倫之和的主調(diào)與變奏——近年中國都市家庭倫理電視劇的審美文化批評[J];當代電影;2005年02期
2 符杰祥;;論1990年代電視劇女性生存的敘事形態(tài)[J];東方論壇(青島大學學報);2006年03期
3 潘巍巍;;傳統(tǒng)與現(xiàn)代之爭——對家庭倫理電視劇中婆媳沖突的文化思考[J];東南傳播;2008年11期
4 王m锨，
本文編號：2268199
本文鏈接：http://sikaile.net/wenyilunwen/dianyingdianshilunwen/2268199.html
