本文選題：產(chǎn)品市場(chǎng)化 + 范式轉(zhuǎn)換　； 參考：《中國(guó)電視》2016年09期

【摘要】：正"范式轉(zhuǎn)換"~①這一概念最早是由托馬斯·庫恩在《科學(xué)革命的結(jié)構(gòu)》一書中提出來的,這里借用這一概念指稱新世紀(jì)我國(guó)諜戰(zhàn)劇創(chuàng)作理念及方式上的轉(zhuǎn)變。在21世紀(jì)經(jīng)濟(jì)全球化、傳播數(shù)字化、文化產(chǎn)品市場(chǎng)化的語境下,新世紀(jì)諜戰(zhàn)劇呈現(xiàn)出多種類型及多元意識(shí)形態(tài)的整合范式,實(shí)現(xiàn)了藝術(shù)創(chuàng)作的范式轉(zhuǎn)換及審美層次的人性化升華。類型多元的新諜戰(zhàn)劇拓展了革命歷史題材劇作的創(chuàng)作視野,增強(qiáng)了革命敘事的趣味性,豐富了類型片的題材樣式,呈現(xiàn)出新的精神風(fēng)貌和文化特質(zhì)。
[Abstract]:The concept of "paradigm shift" was first put forward by Thomas Kuhn in the structure of the Scientific Revolution, which is used to refer to the transformation of the creative ideas and methods of Chinese espionage dramas in the new century. In the context of economic globalization, digitalization of communication and marketization of cultural products in the 21st century, the new century espionage shows a multi-type and multi-ideological integration paradigm. It realizes the paradigm transformation of artistic creation and the humanization of aesthetic level. The multi-type new espionage drama expands the creative field of the revolutionary historical drama, enhances the interest of the revolutionary narrative, enriches the theme style of the type film, and presents the new spiritual style and cultural characteristic.
【作者單位】： 成都理工大學(xué)傳藝學(xué)院;
【分類號(hào)】：J905
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本文編號(hào)：2087374