新世紀我國諜戰(zhàn)題材電視劇的藝術特征論析
發(fā)布時間：2018-12-16 08:37
【摘要】：諜戰(zhàn)劇以特定歷史時期的秘密地下戰(zhàn)爭為背景,反應特請人員與反間諜部門之間以情報的收集與傳遞、特殊任務(策反、刺殺、破壞)的執(zhí)行與偵破為主要情節(jié)的影視劇類型。在我國,諜戰(zhàn)敘事最早可以追溯至民國時期的間諜小說,包括“潛伏”和“鋤奸”兩個基礎敘事類型自建國以降,我國的諜戰(zhàn)題材影視劇經(jīng)歷了三個發(fā)展階段,即1949-1965年十七年時期的特情電影;1980-2000年的諜戰(zhàn)題材電視連續(xù)劇;以及2002年至今的新世紀諜戰(zhàn)劇。本文以2002年至今的國產(chǎn)諜戰(zhàn)劇為主要研究對象,以歷時性研究的視角,結(jié)合類型創(chuàng)作所面臨的多重語境(國家話語方式變遷、市場消費文化盛行以及藝術的內(nèi)在自省)進行關照,并結(jié)合不同時期的代表性文本,對2002年至2016年期間諜戰(zhàn)劇藝術創(chuàng)作中形成的藝術特征進行論析。依此行文邏輯,本研究的主體論述部分分為四個章節(jié),分別為:(1)新世紀諜戰(zhàn)劇的奠基時期。該階段以《誓言無聲》作為代表性文本,論述其對于傳統(tǒng)“驚現(xiàn)美學”的繼承以及“悲劇意識”的形成,以黑格爾的悲喜劇理論中的戲劇沖突理論為主要理論工具為;(2)新世紀諜戰(zhàn)劇的發(fā)展期。該階段以《暗算》為代表性文本,論述其“奇觀敘事”的創(chuàng)作傾向,以艾爾雅維茨的視覺奇觀理論為主要理論工具;(3)新世紀諜戰(zhàn)劇的成熟期。該階段以《潛伏》為代表性文本,論述其“日常美學”的建構(gòu),以文本分析作為主要研究方法;(4)新世紀諜戰(zhàn)劇的轉(zhuǎn)型期。該階段以《偽裝者》為代表性文本,論述其體現(xiàn)的類型融合,以符號學語義矩陣作為文本分析的理論工具,同時融合了青春偶像劇以及家庭倫理劇的類型研究;簡言之,諜戰(zhàn)劇是國家主流文化與市場消費文化所共謀的產(chǎn)物,在新世紀的十余年發(fā)展歷程中,形成了一套比較穩(wěn)固的電視劇形式與風格,其中的某些藝術特征是在該類型電視劇的創(chuàng)作中一以貫之并繁榮發(fā)展,并最終形成一種該類型電視劇敘事的基礎模式;而另一些,則是隨著某一代表性作品在一段時間內(nèi)的熱映而受到廣泛關注,彰顯了某種隱藏著的文化和社會意涵。本研究致力于對新世紀以來諜戰(zhàn)劇整體藝術風格中的變與不變進行論析,在縱向的梳理中把脈該類型電視劇的發(fā)展歷程和趨勢,并為未來的實踐提供依據(jù)和參考。
[Abstract]:Espionage is based on the secret underground war of a particular historical period, and it is a type of film and TV drama with the main plot of gathering and transmitting intelligence, executing and detecting special mission (countervailing, assassinating, destroying) between the personnel and the counterintelligence department. In our country, espionage novels can be traced back to the period of the Republic of China, including the two basic narrative types of "lurking" and "pick-rape" since the founding of the people's Republic of China. Our country's spy war movies and TV plays have experienced three stages of development. Namely 1949-1965 17 years period special situation movie; The 1980-2000 espionage TV series and the 2002-present espionage series. This article takes the domestic espionage drama from 2002 to present as the main research object, from the diachronic research angle, unifies the multi-context which the type creation faces. The prevailing market consumption culture and the internal introspection of art are taken care of, and combined with the representative texts of different periods, the artistic characteristics formed in the artistic creation of espionage drama from 2002 to 2016 are discussed and analyzed. According to this logic, the main part of this study is divided into four chapters: (1) the foundation period of the new century espionage drama. This stage takes "vow silent" as the representative text, discusses its inheritance to the traditional "surprise aesthetics" and the formation of "tragedy consciousness", taking the drama conflict theory in Hegel's theory of tragicomedy as the main theoretical tool. (2) the development period of the new century espionage drama. In this stage, "secret arithmetic" is taken as the representative text to discuss the creative tendency of his "Wonder narration", with Eljavic's Visual Wonder Theory as the main theoretical tool; (3) the mature period of the espionage war drama in the new century. This stage takes "latent" as the representative text, discusses its "daily aesthetics" construction, takes the text analysis as the main research method; (4) the transformation period of the new century espionage drama. In this stage, "camouflage" is taken as the representative text to discuss the type fusion embodied in it, the semiotics semantic matrix as the theoretical tool of text analysis, and the study on the types of youth idol drama and family ethics drama. In short, espionage dramas are the product of collusion between national mainstream culture and market consumption culture. In the course of more than 10 years of development in the new century, they have formed a set of relatively stable forms and styles of TV dramas. Some of the artistic characteristics of this type of TV play are consistent in the creation and prosperous development, and finally form a kind of basic mode of the narrative of this type of TV drama; Others, along with a certain representative works in a period of hot and widespread concern, showing a hidden cultural and social implications. This study is devoted to the analysis of the change and invariance in the whole artistic style of spy war drama since the new century, and the pulse of the development and trend of this type of TV play in the vertical combing, and provides the basis and reference for the future practice.
【學位授予單位】：東北師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J905
本文編號：2382071
[Abstract]:Espionage is based on the secret underground war of a particular historical period, and it is a type of film and TV drama with the main plot of gathering and transmitting intelligence, executing and detecting special mission (countervailing, assassinating, destroying) between the personnel and the counterintelligence department. In our country, espionage novels can be traced back to the period of the Republic of China, including the two basic narrative types of "lurking" and "pick-rape" since the founding of the people's Republic of China. Our country's spy war movies and TV plays have experienced three stages of development. Namely 1949-1965 17 years period special situation movie; The 1980-2000 espionage TV series and the 2002-present espionage series. This article takes the domestic espionage drama from 2002 to present as the main research object, from the diachronic research angle, unifies the multi-context which the type creation faces. The prevailing market consumption culture and the internal introspection of art are taken care of, and combined with the representative texts of different periods, the artistic characteristics formed in the artistic creation of espionage drama from 2002 to 2016 are discussed and analyzed. According to this logic, the main part of this study is divided into four chapters: (1) the foundation period of the new century espionage drama. This stage takes "vow silent" as the representative text, discusses its inheritance to the traditional "surprise aesthetics" and the formation of "tragedy consciousness", taking the drama conflict theory in Hegel's theory of tragicomedy as the main theoretical tool. (2) the development period of the new century espionage drama. In this stage, "secret arithmetic" is taken as the representative text to discuss the creative tendency of his "Wonder narration", with Eljavic's Visual Wonder Theory as the main theoretical tool; (3) the mature period of the espionage war drama in the new century. This stage takes "latent" as the representative text, discusses its "daily aesthetics" construction, takes the text analysis as the main research method; (4) the transformation period of the new century espionage drama. In this stage, "camouflage" is taken as the representative text to discuss the type fusion embodied in it, the semiotics semantic matrix as the theoretical tool of text analysis, and the study on the types of youth idol drama and family ethics drama. In short, espionage dramas are the product of collusion between national mainstream culture and market consumption culture. In the course of more than 10 years of development in the new century, they have formed a set of relatively stable forms and styles of TV dramas. Some of the artistic characteristics of this type of TV play are consistent in the creation and prosperous development, and finally form a kind of basic mode of the narrative of this type of TV drama; Others, along with a certain representative works in a period of hot and widespread concern, showing a hidden cultural and social implications. This study is devoted to the analysis of the change and invariance in the whole artistic style of spy war drama since the new century, and the pulse of the development and trend of this type of TV play in the vertical combing, and provides the basis and reference for the future practice.
【學位授予單位】：東北師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J905
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，本文編號：2382071
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