【摘要】：在我國紛繁復(fù)雜的電視劇類型體系中,少數(shù)民族題材電視劇一直是一個(gè)獨(dú)特而重要的存在。步入新世紀(jì),隨著宏觀時(shí)代背景的變遷,少數(shù)民族題材電視劇逐步走向繁盛與多樣化,多種題材類型元素融入其中,使其逐漸在競爭日益激烈的電視劇市場(chǎng)實(shí)現(xiàn)突圍。這些優(yōu)秀的少數(shù)民族題材電視劇作品,打破了以往的敘事觀念,取得了敘事表達(dá)與審美取向上的突破,成功展現(xiàn)了少數(shù)民族獨(dú)有的精神文化與價(jià)值取向�；赝覈贁�(shù)民族題材電視劇走過的三十多年光陰,它曾經(jīng)發(fā)揮過重要的意識(shí)形態(tài)功能,完成了中華各民族“親如一家”的想象性構(gòu)建。在新世紀(jì)多元文化并存的社會(huì)語境下,主流文化設(shè)法實(shí)現(xiàn)國家意志的隱匿詢喚;大眾文化繼續(xù)瘋狂“圈地”,對(duì)“他者”進(jìn)行娛樂構(gòu)建;少數(shù)民族文化的覺醒壯大促使擁有少數(shù)民族血緣身份或文化身份的創(chuàng)作者,從被獵奇觀賞的“他者”開始成為主動(dòng)表達(dá)情懷的“作者”。正是這三種文化力量的相互博弈,使得新世紀(jì)的少數(shù)民族題材電視劇呈現(xiàn)出不同于以往的文本形態(tài)。在敘事主題方面,不僅有“民族團(tuán)結(jié)”,還將中華民族傳統(tǒng)美德融入其中以觀照當(dāng)下,“和諧”成為少數(shù)民族題材電視劇的精神基調(diào)。在人物塑造方面,突破了以往二元對(duì)立的形象塑造,打破了“非黑即白”的傳統(tǒng)思路,辯證地呈現(xiàn)特殊歷史環(huán)境下的各類人物,不再只關(guān)注家喻戶曉的傳奇英雄,還聚焦于有不為人知的平民英雄;同時(shí),不同歷史時(shí)期中性格與命運(yùn)迥異的少數(shù)民族女性人物得到全面關(guān)注。在敘事技巧方面,既有傳奇書寫模式,用懸念與突變抓住觀眾,用陰謀與愛情升華主題;又有詩意呈現(xiàn)模式,以平實(shí)的美學(xué)風(fēng)貌愉悅觀眾,以真摯細(xì)膩的情感打動(dòng)觀眾。在民族符碼方面,劇中的民俗禮儀不再只是“陳列品”,而是轉(zhuǎn)為參與敘事、推動(dòng)劇情的重要元素,甚至成為勾連社會(huì)禮法、彰顯民族價(jià)值取向的精神符碼。不可否認(rèn),新世紀(jì)的少數(shù)民族題材電視劇在促進(jìn)民族穩(wěn)定團(tuán)結(jié)等方面有積極作用,但我們更應(yīng)該看到,政策制約、商業(yè)誘惑、創(chuàng)新等問題已成為阻礙其發(fā)展的重要因素。因此,少數(shù)民族題材電視劇的健康持續(xù)發(fā)展,既需要國家政府的大力支持,也需要其自身大膽創(chuàng)新,爭取在平衡社會(huì)效益與市場(chǎng)效益的同時(shí)傳達(dá)少數(shù)民族文化特有的審美內(nèi)涵。
[Abstract]:In the complicated TV series system of our country, minority TV drama has always been a unique and important existence. In the new century, with the change of the background of the macroscopic times, minority TV dramas are gradually becoming prosperous and diversified, and the elements of various subject types are integrated into them, which makes them break through in the increasingly competitive TV drama market. These excellent TV dramas with minority themes have broken through the previous narrative concepts, achieved a breakthrough in narrative expression and aesthetic orientation, and successfully demonstrated the unique spiritual culture and value orientation of ethnic minorities. Looking back at the more than 30 years of minority TV dramas in China, it has played an important ideological function and completed the imaginative construction of all ethnic groups in China. In the social context of the coexistence of multiculturalism in the new century, the mainstream culture tries to realize the hidden call of the national will, the mass culture continues to frantically "encircle" and construct the entertainment of the "other"; The arousal and growth of minority culture urges the creators who possess ethnic minority blood or cultural identity to become active "authors" who express their feelings from the "others" who are being hunted and admired. It is the game of these three cultural forces that makes the new century's minority TV series take on a different form of text. In the narrative theme, there is not only "national unity", but also the traditional virtue of the Chinese nation into which to look at the present, "harmony" has become the spiritual tone of minority TV series. In the aspect of character shaping, it breaks through the image shaping of dualistic opposition in the past, breaks the traditional thought of "black and white", and dialectically presents all kinds of characters under the special historical environment, and no longer only pays attention to the legendary heroes who are household names. It also focuses on unknown civilian heroes; At the same time, ethnic minority female figures with different personalities and fates in different historical periods have received comprehensive attention. In terms of narrative skills, there are not only legendary writing models, but also suspense and sudden changes to the audience, sublimation of themes with conspiracy and love, and poetic presentation patterns, which please the audience with plain aesthetic features and impress the audience with sincere and delicate emotion. In the aspect of national code, the folklore etiquette in the play is no longer just a "display", but turns into an important element of participating in narration, promoting the plot, and even becoming a spiritual code that links the social etiquette law and highlights the value orientation of the nation. There is no denying that minority TV plays a positive role in promoting national stability and unity in the new century, but we should see that policy constraints, commercial temptations and innovations have become an important factor hindering its development. Therefore, the healthy and sustainable development of minority TV plays needs not only the support of the national government, but also its own bold innovation, in order to balance social and market benefits while conveying the unique aesthetic connotation of minority culture.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：J905

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