【摘要】：自2000年起,紅色經(jīng)典不斷地被改編成為電視劇,一時間各大傳媒爭相拍攝紅色題材的電視劇。不少投資方在商業(yè)利益的驅使下,對紅色經(jīng)典進行電視劇改編,在改編的過程中存在一定的誤區(qū),引發(fā)了國家新聞出版廣電總局下發(fā)的兩個關于紅色經(jīng)典改編的通知。本文針對這一文化事件,從�？碌脑捳Z權力理論與布爾迪厄的權力理論出發(fā),研究紅色經(jīng)典的電視劇改編現(xiàn)象。考察紅色經(jīng)典作為一種特殊的文化資本,在體制機制、市場機制下的具體運作,從權力文化機構、商業(yè)傳媒、受眾等三個角度考察紅色經(jīng)典的電視劇改編中的權力關系及權力運作的問題。 本文分四部分展開論述： 緒論部分考察本課題研究意義、研究現(xiàn)狀與研究方法。同時對重要的概念例如紅色經(jīng)典、權力等進行梳理、界定。 第一部分分析了�？碌脑捳Z權力理論與布爾迪厄的文化資本與符號權力理論,并結合紅色經(jīng)典的電視劇改編分析其理論的適用性,分析在紅色經(jīng)典電視劇改編中的權力文化機構、商業(yè)傳媒、觀眾等所起到的作用,區(qū)分出國家主流話語,商業(yè)傳媒話語、受眾話語,同時分析紅色經(jīng)典電視劇改編的現(xiàn)狀。 第二部分從權力文化機構方面考察紅色經(jīng)典電視劇改編中的權力因素與權力運作。指出權力文化機構對紅色經(jīng)典文化資源再利用的目的是鞏固國家意識形態(tài),對其進行主旋律化改編,重建國家話語權。通過話語引導與經(jīng)濟扶持來建立控制體系。 第三部分從商業(yè)傳媒入手考察紅色經(jīng)典的電視劇改編的權力因素及權力運作。研究傳媒的意識形態(tài)性與隱蔽性,分析市場機制下的文化資本運作,考察在紅色經(jīng)典的電視劇改編中的權力尋租形象。 第四部分從受眾的角度入手考察紅色經(jīng)典的電視劇改編中的權力運作。分為兩節(jié)主要探討了受眾文化消費權力與監(jiān)督權力的運作。同時指出在新媒介的運作下,受眾的文化消費權力不斷擴大與監(jiān)督權力的運作機制的不完善。 結語中總結了在紅色經(jīng)典的電視劇改編中權力在權力文化機構、商業(yè)傳媒、受眾見的流動。同時指出國家主流話語與商業(yè)傳媒話語是主導因素,而受眾方則由于監(jiān)督機制的不完善,處于弱勢方。
[Abstract]:Since 2000, the red classic has been adapted into TV series. Many investors, driven by commercial interests, adapted the Red Classic TV series. There were some misunderstandings in the process of adaptation, which led to two notices on the adaptation of the Red Classics issued by the State Press, publication, Radio, Film and Television Administration. Based on Foucault's theory of discourse power and Bourdieu's theory of power, this paper studies the adaptation of red classic TV series. Examining the specific operation of the Red Classics as a special cultural capital under the institutional mechanism and the market mechanism, from the power cultural institutions to the commercial media, Audience and other three angles to investigate the power relationship and power operation in the adaptation of red classic TV series. This paper is divided into four parts: the introduction part to investigate the significance of the subject, research status and research methods. At the same time, the important concepts such as red classic, power and so on are combed and defined. The first part analyzes Foucault's theory of discourse power and Bourdieu's theory of cultural capital and symbolic power. This paper analyzes the functions of power cultural institutions, commercial media, audience and so on in the adaptation of red classic TV dramas, and distinguishes the national mainstream discourse, commercial media discourse and audience discourse. At the same time, it analyzes the current situation of the adaptation of red classic TV dramas. The second part examines the power factors and power operation in the adaptation of red classic TV series from the aspect of power cultural institutions. It is pointed out that the purpose of the reuse of red classical cultural resources by power cultural institutions is to consolidate the national ideology, to adapt it to the main melody, and to reconstruct the right of national discourse. Through discourse guidance and economic support to establish a control system. The third part examines the power factors and power operation of the red classic TV series adaptation from the commercial media. This paper studies the ideology and concealment of the media, analyzes the operation of cultural capital under the market mechanism, and examines the rent-seeking image of power in the adaptation of the red classic TV series. The fourth part examines the power operation in the adaptation of the red classic TV series from the perspective of the audience. It is divided into two sections to discuss the operation of audience's cultural consumption power and supervision power. At the same time, it points out that under the operation of new media, the audience's cultural consumption power expands constantly and the operating mechanism of supervision power is not perfect. The conclusion summarizes the flow of power in power cultural institutions, commercial media and audience in the adaptation of red classic TV dramas. At the same time, it points out that national mainstream discourse and commercial media discourse are the dominant factors, while the audience is in the weak side because of the imperfect supervision mechanism.
【學位授予單位】：華中師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J905

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