發(fā)布時(shí)間：2019-03-01 13:53

【摘要】：20世紀(jì)90年代以來(lái)，我國(guó)的社會(huì)主義市場(chǎng)經(jīng)濟(jì)體制逐漸確立，隨之而來(lái)的多元文化共存格局也逐漸明朗起來(lái)，以感性愉悅和消遣娛樂(lè)為主要特征的大眾文化成為了社會(huì)轉(zhuǎn)型期的審美文化的主流，在大眾文化傳播語(yǔ)境下，受眾對(duì)娛樂(lè)的追求達(dá)到了空前的熱情，對(duì)于娛樂(lè)的追求已成為這個(gè)時(shí)代的特征。“趙寶剛”出品，是高收視率的保障，2007年隨著《奮斗》的熱播，人們開(kāi)始對(duì)一種新形式的“話題式”電視劇展開(kāi)討論，之后《我的青春誰(shuí)做主》、《婚姻保衛(wèi)戰(zhàn)》、《男人幫》、《北京青年》的高收視率展示了趙寶剛強(qiáng)烈的個(gè)人風(fēng)格和藝術(shù)特點(diǎn)，以及對(duì)市場(chǎng)、受眾需求的精準(zhǔn)把握。 特定時(shí)代的文化精神，熔鑄為藝術(shù)的精神，它決定了藝術(shù)的風(fēng)格與樣式。每個(gè)時(shí)代都有屬于自己時(shí)代的文學(xué)與藝術(shù)，它們凝聚著那個(gè)時(shí)代的語(yǔ)言習(xí)慣、思維方式，承載了那個(gè)時(shí)代的精神風(fēng)貌與價(jià)值取向。20世紀(jì)80年代末90年代初，中國(guó)內(nèi)地的文化方向發(fā)生了轉(zhuǎn)變，不僅包括文化結(jié)構(gòu)、文化形態(tài)的演變，更重要的是，文化生活淹沒(méi)在市場(chǎng)經(jīng)濟(jì)的海洋里，大眾文化對(duì)于悲劇的沖擊與抑制已是顯而易見(jiàn)的，轉(zhuǎn)型期的藝術(shù)形式是喜劇性的。中國(guó)喜劇電視劇的形態(tài)可以大致分為兩種：一是較為純粹的喜劇片；一是具有喜劇元素，喜劇精神，喜劇手法的電視劇。那么，近幾年趙導(dǎo)的話題劇便是屬于后者的范疇。此為第一章從社會(huì)文化層面論述趙寶剛都市情感話題劇喜劇性生成的機(jī)制。 趙寶剛導(dǎo)演從市場(chǎng)、受眾的角度出發(fā)，不斷將創(chuàng)新的血液輸入到自己的電視劇中，高舉“話題劇”大旗，“都市生態(tài)”融合在人物形象、臺(tái)詞、選題等這些敘事策略中，在一出出引人發(fā)笑的劇情中形成特有的泛都市生態(tài)喜劇。正是這種理想化才造就了趙寶剛電視劇被觀眾廣泛討論，并成為話題。隨著我國(guó)經(jīng)濟(jì)的快速發(fā)展，人們生活，工作節(jié)奏的逐漸加快，激烈的競(jìng)爭(zhēng)、強(qiáng)大的壓力和高效的節(jié)奏使人們?cè)絹?lái)越難以承受精神的重?fù)?dān)，情感饑荒、心理隱患、家庭矛盾、職場(chǎng)困惑等一系列的情感問(wèn)題成為當(dāng)代人重要的精神壓力，，面對(duì)電視這種大眾媒體的時(shí)候，人們也希望能夠從中獲得釋放這些情感壓力的滿足。趙寶剛導(dǎo)演的“青春三部曲”等作品從“惟樂(lè)原則”出發(fā)滿足了受眾的需求。此為第二章從趙寶剛都市情感話題劇喜劇性生成的運(yùn)作機(jī)制方面來(lái)論述。 從語(yǔ)用學(xué)角度分析幽默臺(tái)詞的生成、“組別化”角色碰撞出的喜劇性趣味以及清潔的喜劇性設(shè)置三個(gè)方面來(lái)論述趙寶剛都市情感話題劇喜劇性生成的藝術(shù)手段。結(jié)合西方喜劇理論，采用跨學(xué)科分析法，內(nèi)容分析法，個(gè)案分析法，比較研究法，文獻(xiàn)分析法等方法進(jìn)行分析論證。從喜劇人物、喜劇情節(jié)、拍攝手段等方面研究這些電視劇作品的喜劇效果生成，此為第三章。 在近幾年的話題劇中，趙寶剛導(dǎo)演將喜劇元素運(yùn)用其中，符合了觀眾對(duì)于電視劇喜劇性的期待，他們希望自己能夠處于適宜喜劇樂(lè)趣的情緒中去緩解生活、工作的壓力，閑暇的無(wú)聊。在這個(gè)大眾文化和消費(fèi)文化迅速傳播的環(huán)境下，研究趙寶剛導(dǎo)演近幾年都市情感話題劇中喜劇性效果生成機(jī)制對(duì)于中國(guó)影視劇產(chǎn)業(yè)化進(jìn)程有著重要指導(dǎo)意義。
[Abstract]:Since the 90 's in the 20th century, the socialist market economic system of our country has been gradually established, and the coexistence pattern of the multiple cultures has become clear, and the popular culture with the main characteristics of sensual pleasure and recreation has become the mainstream of the aesthetic culture in the social transformation period. In the context of mass culture communication, the audience's pursuit of entertainment has reached an unprecedented enthusiasm, and the pursuit of entertainment has become a feature of this time. "Zhao Baogang" 's production, is the guarantee of high ratings, with the hot sowing of in 2007, people began to discuss a new form of "Topic" TV series, and then , , , The high ratings of Beijing Youth> show the strong personal style and artistic characteristics of Zhao Baogang, as well as the precise control of the market and the audience's needs. The cultural spirit of a particular era, the spirit of the fusion and fusion of the art, determines the style and the sample of the art. Each time has the literature and art of their own age. They are the language habit and the way of thinking of the times, which bear the spiritual outlook and value orientation of the time. At the beginning of the late 1990s, the cultural direction of the Chinese mainland has changed. The change, not only the evolution of the cultural structure and the cultural form, more importantly, the cultural life is inundated in the ocean of the market economy, the impact and the suppression of the mass culture on the tragedy are obvious, the art form of the transformation period is the comedy nature, The form of Chinese comedy series can be roughly divided into two types: one is a more pure comedy; one is a television with a comedy element, a comedy spirit and a comedy method So, in recent years, Zhao's topic drama is the latter's van. This is the first chapter, from the social and cultural level, to the development of the comedy of Zhao Baogang's urban sentiment. "From the perspective of the market and the audience, the director of Zhao Baogang, from the perspective of the market and the audience, continuously inputs the innovative blood into his TV series, and holds high the narrative of" the big banner and the urban ecology "of the topic drama in the characters, lines and topics. In a strategy, a particular pan-city life is formed in a scenario that makes a laugh. Comedy. It's the idealization that made Zhao Baogang's TV series widely discussed by the audience, and With the rapid development of our economy, people's life, the gradual acceleration of the work rhythm, the fierce competition, the strong pressure and the high-efficiency rhythm make people more and more difficult to bear the burden of the spirit, the emotional famine, the psychological hidden trouble, the home A series of emotional problems, such as the contradictions of the court and the confusion of the workplace, have become the important spiritual pressure of the present generation. In the face of the mass media of the TV, people also want to be able to get the emotional pressure released from it. The "the trilogy of youth" and other works of the director of Zhao Baogang met the audience from the "principle of pleasure" This is the operation mechanism of the second chapter from the comedy of the romantic topic of the city of Zhao Baogang. From the perspective of pragmatics, the author discusses the comedies of the drama of Zhao Baogang in the three aspects: the generation of the humorous lines, the comedy of the "group" character and the comedy of the cleaning, and the three aspects of the clean comedy. In combination with the western comedy theory, the method of cross-disciplinary analysis, content analysis, case-by-case analysis, comparative study, literature analysis and so on is adopted. The author studies the comedies of these plays from the aspects of the comedy characters, the comedy plot, the shooting method and so on. This is the third chapter. In the topic in recent years, the director of Zhao Baogang used the comedy elements, which met the expectations of the audience for the comedy of the TV series, and they wanted to be able to relieve the life and the pressure of the work in the mood of the amusement of the comedy. In the context of the rapid propagation of the mass culture and the culture of consumption, the research of the comedy effect generation mechanism of Zhao Baogang in recent years in the city's emotional topic plays an important role in the process of the industrialization of China's film and television drama.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 蘇玉;;因趙寶剛而紅的明星[J];伴侶(A版);2007年03期

2 唐海;趙寶剛:對(duì)藝術(shù)的甜蜜向往和執(zhí)著追求[J];當(dāng)代電視;2004年01期

3 趙寶剛;張希;;引領(lǐng)時(shí)代的精神風(fēng)尚——導(dǎo)演趙寶剛訪談[J];當(dāng)代電影;2010年02期

4 趙寶剛;黃海濤;路海波;阿丘;;電視劇市場(chǎng)運(yùn)作的規(guī)律與經(jīng)驗(yàn)——從趙寶剛電視作品談起[J];電視研究;2009年08期

5 余韶文;聽(tīng)趙寶剛講那一場(chǎng)風(fēng)花雪月的事[J];大眾電影;1998年05期

6 馬智;趙寶剛:讓作品凈化社會(huì)和心靈[J];大眾電影;2005年01期

7 佟婷;趙寶剛:只談愛(ài)情[J];電影;2001年04期

8 朱雪飛;拿什么來(lái)選擇你,我的演員?——導(dǎo)演趙寶剛造星之方式方法篇[J];電影;2002年09期

9 劉碩;談情說(shuō)愛(ài):趙寶剛電視劇美學(xué)透析[J];電影藝術(shù);2001年06期

10 覃西;;趙寶剛:我比80后叛逆[J];中國(guó)女性(中文海外版);2009年07期

本文編號(hào)：2432483

suoshi