【摘要】：起源于西方社會(huì)的大眾文化與大眾社會(huì)的形成緊密相連,具有明顯的商業(yè)性。大眾文化的理論從充滿精英主義傳統(tǒng)的利維斯主義到后來的伯明翰學(xué)派、法蘭克福學(xué)派等研究學(xué)派,再到對(duì)葛蘭西觀點(diǎn)的重新重視,經(jīng)歷了不同的研究范式,大眾文化逐漸取得與精英文化、民間文化同等的地位。借鑒這些理論觀照當(dāng)下我國的文化,是本文研究的初衷。時(shí)下,曾火熱一時(shí)充斥熒屏的宮斗劇已經(jīng)偃旗息鼓,這一方面是市場(chǎng)飽和后的自然選擇,另一方面也是國家政策干預(yù)的后果。不管是市場(chǎng)經(jīng)濟(jì)條件下唯收視率馬首是瞻的創(chuàng)作和播出,還是這些劇集在觀眾中引起的強(qiáng)烈共鳴和語言時(shí)尚,或者是新聞廣播電視電影總局通過“看得見的手”所進(jìn)行的行政干預(yù),都充分說明這類電視劇巨大的影響力。很明顯,宮斗劇是大眾文化的產(chǎn)物,其流行與消亡也是大眾文化的規(guī)律使然,本文試圖從大眾文化理論的角度對(duì)宮斗劇進(jìn)行觀照,分析其作為大眾文化廣受歡迎的內(nèi)部機(jī)制和原因,為我國電視劇的健康發(fā)展提供理論支撐。 第一章主要介紹了大眾文化理論和宮斗劇的概念。第一節(jié)從歷史的角度分析了大眾文化的興起與發(fā)展,總結(jié)了大眾文化的概念和特征；梳理了西方大眾文化理論的研究范式,介紹了伯明翰學(xué)派和法蘭克福學(xué)派的研究成果和理論觀點(diǎn)；回顧了中國大眾文化的本土特征和大眾文化理論的發(fā)展沿革。第二節(jié)探討了宮斗劇的類型歸屬；概括了宮斗劇的發(fā)展脈絡(luò)和特征。 第二章從宮斗劇的偶像策略、影像奇觀和世俗性敘事等方面分析了宮斗劇之所以受大眾歡迎的內(nèi)在機(jī)制,即用偶像劇的操作方式來包裝宮廷劇、通過影像奇觀吸引觀眾注意力、用世俗性敘事求得觀眾心理認(rèn)同,從而在受眾中取得了較高的收視率。 第三章從觀眾的現(xiàn)實(shí)處境、網(wǎng)絡(luò)文學(xué)與影視劇的互動(dòng)、現(xiàn)代傳媒的營銷宣傳等方面剖析了宮斗劇熱播的社會(huì)文化原因,同時(shí)也從藝術(shù)品所承擔(dān)的社會(huì)功能等方面對(duì)部分宮斗劇粗制濫造的質(zhì)量、扭曲的價(jià)值觀、歷史觀等現(xiàn)象做了批判。 第四章結(jié)語部分結(jié)合上文的論述,總結(jié)宮斗劇創(chuàng)作和傳播的經(jīng)驗(yàn)與教訓(xùn),從宏觀的角度對(duì)我國電視劇創(chuàng)作提出建議,并說明有待深入思考的問題。
[Abstract]:The popular culture originated from the western society is closely connected with the formation of the mass society and has obvious commercial character. The theory of popular culture has experienced different research paradigms, from the Levisianism, which is full of elitism tradition, to the later Birmingham School, Frankfurt School and so on, to the renewed emphasis on Gramsci's viewpoint. Mass culture has gradually acquired the same status as elite culture and folk culture. It is the original intention of this paper to use these theories to reflect the current culture of our country. At present, the once-hot screen-filled Miyagou drama has died, this is the natural selection after the market saturation, on the other hand, the result of state policy intervention. Whether it is the creation and broadcasting of only the audience under the conditions of market economy, or the strong resonance and language fashion caused by these shows among the audience, Or the administrative intervention by the State Administration of News, Radio, Television and Film through the visible hand fully illustrates the enormous influence of such TV dramas. Obviously, the palace play is the product of the popular culture, and its popularity and extinction is also caused by the law of the popular culture. This paper tries to take a look at it from the point of view of the popular culture theory. This paper analyzes the internal mechanism and reasons for the popularity of popular culture and provides theoretical support for the healthy development of Chinese TV series. The first chapter mainly introduces the theory of popular culture and the concept of Gong Dou Opera. The first section analyzes the rise and development of popular culture from the historical point of view, summarizes the concept and characteristics of popular culture; This paper combs the research paradigm of western popular culture theory, introduces the research results and theoretical viewpoints of Birmingham school and Frankfurt school, and reviews the local characteristics of Chinese popular culture and the development of popular culture theory. The second section discusses the types of palace play, summarizes the development and characteristics of the palace play. The second chapter analyzes the internal mechanism of the popular popularity of Miyagou drama from the aspects of idolatry strategy, image spectacle and secular narration, that is, packaging the court drama with the operation of idol drama, and attracting the audience's attention through the image spectacle. Using secular narration to gain the audience's psychological identity, thus obtaining a higher audience rating. The third chapter analyzes the social and cultural reasons for the popularity of Gong Dou drama from the aspects of audience's realistic situation, the interaction between network literature and film and TV drama, the marketing and propaganda of modern media, etc. At the same time, it criticizes some phenomena such as quality, distorted values, historical view and so on from the social function of art. The fourth chapter summarizes the experience and lessons of the creation and dissemination of Gong Dou drama, puts forward some suggestions from the macro angle, and explains the problems to be considered deeply.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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