电视栏目剧形态及其叙事策略

发布时间：2018-03-22 13:54

本文选题：栏目剧　切入点：叙事策略　出处：《湖南师范大学》2013年硕士论文　论文类型：学位论文

【摘要】：随着电视栏目愈来愈故事化、民生化、大众化,以往单纯靠扮演公共服务与政府“传播机器”的传统电视节目逐渐淡褪于电视荧屏,取而代之的是一系列大众文化、民生节目、民生新闻的欣欣向荣。电视栏日剧便是诞生于这一背景之下。从2006年重庆电视台《雾都夜话》兴起电视栏目剧至今,该节目样式已成长七年,并大有欣荣发展之势。栏目剧在实践上风生水起,但与之相对的却是,其在理论研究上黯然萧索,甚至一片空白。至今没有一本研究栏目剧的理论专著,学术论文也相对较少,甚至连栏目剧的定义也是众说纷纭,莫衷一是。而在叙事上,也是喜忧参半,一方面,栏目剧以其平民化的叙事风格走俏,另一方面也因为“过度平民化”落入媚俗的创作误区；其二,在导演二度创作中,又因时而纪实,时而虚构,时而影视剧叙事手法,时而新闻概述手法,使其呈现暖昧之态,特征不明；其三则是近年来栏目剧形态的多样化演变,时而“电视剧”,时而“微电影”的“变身”,让原本就定义不明的电视栏目剧身份更加扑朔迷离。疏理已有争论,归纳它在生产和播出上独有的特征,总结其理论规律,无疑能推动其创作和实践。本篇论文正是尝试对电视栏目剧的定义及形态、剧本叙事风格、栏目剧导演叙事手法、大众参与叙事等方面进行较为系统的研究,并结合自身参与栏目剧制作的经历,对其收视率、内部操作结构、创作流程等方面进行全面、系统、真实的分析。第一章主要明确栏目剧的定义及形态。分析栏目剧与情景剧、新闻专题、电视剧、微电影等姊妹电视形态之间的区别,明确栏目剧实际足一种新闻与影戏嫁接的产物,栏目剧应具备播出时长、播出时段、叙事风格、演员身份、导演风格等方面的惯有特征,不得混淆。第二章主要对栏目剧文本进行分析。结合一线创作经历分析栏目剧文本创作的流程、特点、风格,重点陈述剧本创作应遵循一定的内在逻辑和技巧,就如何选择故事,如何设置悬念、节奏、矛盾等方面进行分析,同时分析栏目剧在发展中多花样的叙事嬗变、叙事误区及隐忧,力求从剧本本身规范栏目剧创作第三章主要讲述导演的叙事策略。重点讲述导演在电视栏目剧中的重要地位、如何进行剧本的二度创作,如何进行现场导演,导演在栏目剧制作流程中应注意的一些规则,以及电视栏目剧编导一体化的利与弊等等最后,进一步强调栏目剧制作应该理性创作,坚持民生、真实大众,不盲目、不盲从、不媚俗的叙事态度,在不断创新的同时坚持媒体人本身应具有的原则与底线,希望栏目剧创作者能清醒应对。论文运用了不少栏目剧生产、运作的第一手资料,并实际参与创作,不期望能就此解决栏目剧的所有纷争,但是衷心希望能为栏目剧的继续发展提供一个新的视点。
[Abstract]:As television programs become more and more storytelling, people's livelihood is becoming more and more popular, in the past, the traditional TV programs, which simply rely on public services and the government's "communication machine," have gradually faded into television screens and replaced by a series of popular culture and livelihood programs. The prosperity of people's livelihood news. The TV column Japanese drama was born under this background. Since 2006 Chongqing TV station "Wudu Night talk", the TV program style has been growing for seven years, and has a tendency of prosperity and development. In practice, column dramas have become very popular, but in contrast, they have been dismal or even blank in theoretical research. So far, there has not been a theoretical monograph on column plays, and there are relatively few academic papers. Even the definition of column play is controversial. But in narrative, it is also mixed. On the one hand, column play is popular with its popularized narrative style. On the other hand, it is also because "excessive popularization" has fallen into the misconception of vulgar creation; second, in the second creation of directors, it is sometimes recorded, sometimes fictional, sometimes film and TV drama narration, sometimes news summarization, so that it presents a warm state of obscurity. The third is the variety and evolution of the form of column drama in recent years, sometimes "TV series", sometimes "micro-film" "transformation", so that the original unidentified definition of TV drama identity is more complicated and confusing. It has been argued that summing up its unique characteristics in production and broadcasting and summarizing its theoretical rules can undoubtedly promote its creation and practice. The narrative techniques of the program directors and the popular participation in the narration are systematically studied, and the ratings, internal operational structure, creative process and so on are comprehensively and systematically studied in the light of their own participation in the production of the column drama. A true analysis. The first chapter mainly clarifies the definition and form of column drama. It analyzes the difference between column drama and scene drama, news special topic, TV series, micro-film and other sister television forms, and clarifies that column play is a kind of product of news and shadow drama grafting. Column play should have the characteristics of long broadcast time, broadcast time, narrative style, actor identity, director style and so on, and should not be confused. The second chapter mainly analyzes the text of the column drama. Combined with the first-line creative experience, it analyzes the flow, characteristics, style and emphasis of the script creation, and how to choose the story. How to set up suspense, rhythm, contradiction and so on, at the same time, analyze the narrative transmutation, narrative misunderstandings and hidden worries of column play in the development of various patterns, and strive to standardize the column play creation from the script itself. The third chapter mainly narrates the director's narrative strategy. It focuses on the important position of the director in the TV column play, how to create the second stage of the script, how to direct on the spot, and some rules that the director should pay attention to in the production process of the column play. As well as the advantages and disadvantages of the integration of TV drama production and directing, and so on. Finally, it is further emphasized that the production of column plays should be rational creation, adhere to the people's livelihood, the real public, not blind, do not blindly follow, not vulgar narrative attitude, while constantly innovating adhere to the media should have the principles and bottom line. I hope the creators of the program can deal with it soberly. The paper uses the first-hand information of the production and operation of a lot of column plays, and actually participates in the creation, does not expect to resolve all the disputes of the column drama, but sincerely hopes to provide a new viewpoint for the continuous development of the column play.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

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