發(fā)布時(shí)間：2019-04-08 14:54

【摘要】：律政劇,作為一種舶來(lái)的電視劇類(lèi)型,在如今世界電視劇發(fā)展中占據(jù)了不可或缺的一席之地,逐漸成為電視劇的主流類(lèi)型之一。在中國(guó),90年初律政劇隨著香港電視劇《壹號(hào)皇庭》系列的成功逐漸走進(jìn)了中國(guó)觀(guān)眾的視野。香港律政劇隨之迎來(lái)了飛速發(fā)展的時(shí)代,至今已形成了成熟的創(chuàng)作模式。我國(guó)大陸律政劇從上世紀(jì)末的法律題材電視劇發(fā)展至今,雖已有一定的發(fā)展,但始終未能有長(zhǎng)足的進(jìn)步,尚未走上類(lèi)型化的創(chuàng)作道路,無(wú)論是數(shù)量上還是質(zhì)量上,都亟需借鑒向香港及其他當(dāng)今世界上在該類(lèi)劇創(chuàng)作上理念先進(jìn)的國(guó)家和地區(qū)的創(chuàng)作手法。 目前國(guó)內(nèi)理論界缺乏對(duì)于律政劇的系統(tǒng)研究,大多數(shù)研究文章僅僅著眼于單一文本進(jìn)行分析。鑒于此,本文將以香港及大陸兩地律政劇作品作為研究對(duì)象進(jìn)行比較研究,既而梳理歸納出律政劇的類(lèi)型范式。 文章首先基于兩地律政劇的主要共性,對(duì)律政劇的概念進(jìn)行界定。具體將從兩地律政劇的生成語(yǔ)境、主題思想、人物設(shè)置及塑造、敘事策略四個(gè)方面來(lái)分析律政劇的類(lèi)型模式、兩地律政劇之間的差異及差異形成的深層次原因,探析大陸律政劇存在的不足,為今后大陸律政劇的發(fā)展提供一定的理論支持。
[Abstract]:Legal drama, as an imported type of TV series, occupies an indispensable position in the development of TV dramas in the world, and gradually becomes one of the mainstream types of TV dramas. In China, with the success of the Hong Kong TV series No. 1 Imperial Court series, the early 1990 legal dramas have gradually entered the view of the Chinese audience. Hong Kong legal drama ushered in the rapid development of the era, so far has formed a mature mode of creation. Since the development of legal drama in the mainland of China at the end of last century, although there has been some development, it has never made great progress, and has not yet embarked on the road of typed creation, both in quantity and in quality. It is urgent to draw lessons from the creative techniques of Hong Kong and other countries and regions with advanced ideas in the creation of this kind of drama. At present, there is a lack of systematic research on legal drama in domestic theoretical circles, and most of the research articles only focus on a single text for analysis. In view of this, this paper makes a comparative study of the works of legal dramas in Hong Kong and mainland China, and sums up the typological paradigms of legal dramas. Firstly, this paper defines the concept of legal drama on the basis of the main commonness of the legal drama between the two places. It will analyze the type mode of the legal drama, the difference between the two places' legal drama and the deep-seated causes of the difference from the four aspects of the generating context, the theme thought, the setting and shaping of the characters, and the narrative strategy of the legal drama between the two places. In order to provide some theoretical support for the development of mainland legal dramas, this paper analyzes the shortcomings of mainland legal dramas.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 朱靖江;法庭片與法的精神[J];北京電影學(xué)院學(xué)報(bào);1999年03期

2 劉旭;;TVB警匪劇之?dāng)⑹履Ｊ綔\析[J];才智;2011年20期

3 蔡之國(guó);;電視紀(jì)錄片的敘事節(jié)奏[J];當(dāng)代傳播;2006年06期

4 秦俊香;從接受心理看電視劇《大法宮》的成功[J];當(dāng)代電視;2002年02期

5 許們們;張艷茹;;香港行業(yè)劇之類(lèi)型漸變[J];當(dāng)代電影;2008年01期

6 江小娣;;青春喜劇《律政金發(fā)女郎》留下的跨文化深思[J];電影文學(xué);2011年19期

7 許海燕;《大法官》公平公正的呼喊[J];當(dāng)代電視;2002年02期

8 劉旭東;《大法官》好在哪里?[J];當(dāng)代電視;2002年02期

9 張?zhí)扈?美術(shù)設(shè)計(jì)的《法官譚彥》[J];當(dāng)代電視;1998年05期

10 文潔;是普法教材還是純粹的娛樂(lè)消費(fèi)品?——反思法制題材電視劇中的“違法”內(nèi)容[J];聲屏世界;2002年11期

，

本文編號(hào)：2454675