發(fā)布時(shí)間：2018-12-06 06:48

【摘要】：隨著社會的進(jìn)步和經(jīng)濟(jì)的發(fā)展，以及人們生活水平和審美認(rèn)識的提高，電視觀眾對電視節(jié)目的要求也逐漸的提升。我國電視紀(jì)實(shí)作的創(chuàng)作有了顯著的發(fā)展。但是由于電視的商業(yè)性質(zhì)越來越強(qiáng)，其次是國內(nèi)電視媒體擔(dān)心在直播過程中擔(dān)心意外事故的發(fā)生，所以大部分電視紀(jì)實(shí)作品一般會事先制定好詳細(xì)的方案流程后再進(jìn)行播出。即便是現(xiàn)場直播或現(xiàn)場報(bào)道，媒體也一直是小心翼翼，在鏡頭指向上，和事件中起決定性作用的主要對象有失偏頗；在解說上，記者或主持人受政治導(dǎo)和社會輿論等多方面的壓力，不敢做出任何過分的評論和預(yù)測�，F(xiàn)如今，世界電視傳播水平的大幅度提高，這種做法顯然不符合當(dāng)今電視文化的理念。而從受眾的角度來看，由于大量娛樂選秀電視節(jié)目的出現(xiàn)，以及對“圖像文化”的過分追求，導(dǎo)致受眾不愿過多的關(guān)注真正有內(nèi)涵有意義的電視紀(jì)實(shí)作品，從而對它的審美價(jià)值進(jìn)行了解。所以如今有一部分電視紀(jì)實(shí)作品脫離了生活真實(shí)，缺乏一定的藝術(shù)技巧。所以本文從戲劇化手法入手，對電視紀(jì)實(shí)作品中戲劇化手法的運(yùn)用和價(jià)值進(jìn)行研究，以期能夠?qū)﹄娨暭o(jì)實(shí)作品的創(chuàng)作提供一些理論參考。 全文分為四個(gè)部分：第一部分從電視紀(jì)實(shí)作品、戲劇化的定義，以及電視紀(jì)實(shí)作品戲劇化的創(chuàng)作元素入手，并對當(dāng)前電視紀(jì)實(shí)作品戲劇化的研究現(xiàn)狀進(jìn)行了分析。第二部分對將電視紀(jì)實(shí)作品的發(fā)展分為四個(gè)時(shí)期，并對每個(gè)時(shí)期的電視紀(jì)實(shí)作品的特點(diǎn)進(jìn)行概述，然后結(jié)合相關(guān)作品對電視紀(jì)實(shí)作品戲劇化的特點(diǎn)進(jìn)行分析闡述。第三部分具體從電視紀(jì)實(shí)作品戲劇化創(chuàng)作手段入手，對其更進(jìn)一步的分析，并對電視紀(jì)實(shí)作品主要的兩大節(jié)目形態(tài)——紀(jì)錄片與專題片在主題結(jié)構(gòu)和鏡頭拍攝上各自的特點(diǎn)進(jìn)行歸納總結(jié)。第四部分則是對電視紀(jì)實(shí)作品的審美價(jià)值從“節(jié)奏美、紀(jì)實(shí)美、意境美”三個(gè)方面進(jìn)行梳理，歸結(jié)出戲劇化手法的優(yōu)勢。 戲劇化手法在電視紀(jì)實(shí)作品中的運(yùn)用在我們現(xiàn)有的節(jié)目中已經(jīng)存在，在學(xué)術(shù)上，也有一定的理論依據(jù)，但并不是很成熟。論文在前人的研究成果的基礎(chǔ)上，，結(jié)合相關(guān)實(shí)例和自己的學(xué)習(xí)經(jīng)驗(yàn)，對這個(gè)觀點(diǎn)進(jìn)行較為系統(tǒng)完整性的研究分析，探討電視紀(jì)實(shí)作品中戲劇化手法的運(yùn)用與價(jià)值，希望能對我國的電視紀(jì)實(shí)作品的創(chuàng)作有一定的參考價(jià)值。
[Abstract]:With the progress of society and the development of economy, as well as the improvement of people's living standard and aesthetic understanding, the demands of TV viewers on TV programs have been raised gradually. There has been a remarkable development in the creation of TV documentary works in China. However, the commercial nature of television is becoming stronger and stronger, followed by the domestic television media worry about the occurrence of accidents in the live broadcast process, so most of the documentary works will make a detailed plan flow before broadcast. Even live or live coverage, the media has always been careful, in the lens pointing, and the main object that plays a decisive role in the event is biased; In explanation, journalists or presenters, under the pressure of political guidance and public opinion, dare not make any excessive comments and predictions. Nowadays, the level of TV communication in the world has greatly improved, which obviously does not accord with the concept of today's TV culture. From the audience's point of view, due to the emergence of a large number of entertainment draft TV programs and the excessive pursuit of "image culture", the audience is unwilling to pay too much attention to the real meaningful television documentary works. In order to understand its aesthetic value. So now there are some TV documentary works divorced from the reality of life, lack of certain artistic skills. Therefore, this paper starts with the dramatic techniques, and studies the application and value of the dramatic techniques in the TV documentary works, in order to provide some theoretical reference for the creation of TV documentary works. The thesis is divided into four parts: the first part starts with the definition of TV documentary works, the definition of dramatization and the elements of dramatization of TV documentary works, and analyzes the present situation of the research on the dramatization of TV documentary works. In the second part, the development of TV documentary works is divided into four periods, and the characteristics of television documentary works in each period are summarized, and then the dramatization characteristics of television documentary works are analyzed and expounded in combination with relevant works. The third part starts with the dramatic creative means of TV documentary works, and further analyzes it. And the main two major program forms of TV documentary works-documentary film and feature film in the structure of the theme and the characteristics of the lens shooting are summarized. The fourth part combs the aesthetic value of TV documentary works from three aspects: rhythm beauty, documentary beauty and artistic conception beauty. The use of dramatic techniques in TV documentary works has already existed in our existing programs, and there is also a certain theoretical basis in the academic field, but it is not very mature. On the basis of predecessors' research results, combining with relevant examples and their own learning experience, this paper makes a systematic analysis of this viewpoint, and discusses the application and value of dramatic techniques in TV documentary works. It is hoped that it will have some reference value for the creation of TV documentary works in our country.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前8條

1 孫曾田;紀(jì)實(shí)與思考──從《神鹿呀,我們的神鹿》談紀(jì)錄片特性[J];電視研究;1999年02期

2 張帆;;電視紀(jì)實(shí)作品的節(jié)奏美[J];貴州社會科學(xué);2007年09期

3 康素貞;紀(jì)實(shí)片的藝術(shù)[J];福建藝術(shù);1996年06期

4 彭耀宇;電視紀(jì)實(shí)片的真實(shí)與美[J];江蘇廣播電視大學(xué)學(xué)報(bào);2004年02期

5 李勁松;;論電視紀(jì)錄片的敘事技巧[J];媒體時(shí)代;2012年01期

6 森茂芳;戲曲電視的“藝術(shù)共生”論[J];民族藝術(shù)研究;1994年01期

7 陳占軍;淺論電視紀(jì)錄片的審美[J];山東視聽(山東省廣播電視學(xué)校學(xué)報(bào));2005年08期

8 李嵐;電視紀(jì)實(shí)傳播美學(xué)探析[J];中國青年政治學(xué)院學(xué)報(bào);1999年03期

本文編號：2365606