当代我国以女性为重要角色的宫廷剧中女性形象的演变

发布时间：2018-04-12 17:01

本文选题：女性形象 + 宫廷剧　；参考：《重庆大学》2014年硕士论文

【摘要】：目前在我国，以女性为重要角色的宫廷剧，以其精彩的人物、动人的剧情、大气的场景，征服了数量众多的观众。每有宫廷剧开播，势必引发一场收视热潮和话题热议，这种全民狂欢式的风潮，自《倾世皇妃》（2010）、《后宫·甄[传》（2011）等一系列宫廷剧问世以来便屡屡出现，逐渐成为一种值得人们思考的文化现象。我国自上世纪80年代以来，每年都有宫廷剧与观众见面，但一部电视剧能引发如此巨大的影响，还是近几年才有的现象。这些宫廷剧大多以女性作为重要角色，从最早的《努尔哈赤》（1986）、《王昭君》（1987），到近年热播的《步步惊心》（2011）、《宫锁心玉》（2011），是什么理由，令片中的女性形象发生了怎样的变化，才造就今日的宫廷剧娱乐狂潮？本文主要从四个方面对这一问题进行了阐释。第一，绪论部分，讨论研究这一现象的重要性，并进行文献综述。第二，本文参考众多文论中就宫廷剧的描述，分析构成一部宫廷剧所应具备的要素，并结合具体的宫廷剧作品，对“什么是宫廷剧”尝试进行定义。第三，本文将上世纪80年代以来至今的30年，共划分为三个时间段，根据不同的时间段，挑选在当时具有代表性的宫廷剧女性角色，结合人物外貌、性格生成、时代意义等方面，对不同时代塑造女性形象的侧重点进行剖析，并通过四个主要特征，总结出这30年间女性形象究竟经历了怎样的演变。第四，本文从政治经济、科学技术、社会文化三个方面，笔者结合当代对宫廷剧创作、女性形象塑造、观众审美变化等方面产生重要影响的四个“新兴文本”，对这30年间宫廷剧女性形象发生如此变化的原因，进行了细致的梳理和分析。相对于可俗可雅的电影而言，电视剧是纯粹的俗文化产物，宫廷剧也是如此。而女性观众作为拥有最主要消费能力的受众群体，不应当在大众媒体的话语权中缺席、失声，更不应当被妖魔化。我国目前对于女性主义与大众传媒之间关系的研究，虽不在少数，但精度难以与国外匹敌。本文旨在通过整理女性形象在不同时代宫廷剧中的变化，乃至今日成为独树一帜的“女性宫廷剧”，提炼出现今女性地位与需求，为女性主义和大众传媒的研究添砖加瓦。
[Abstract]:At present, the court drama with women as the important role in our country has conquered a large number of audiences with its wonderful characters, moving plots and atmospheric scenes.Every time a court drama is broadcast, it is bound to lead to a viewing boom and a heated discussion of topics. This popular carnival trend has frequently appeared since the publication of a series of court dramas, such as "the imperial concubine of the world", "2010", "Hougong Zhen" [Zhuan] and "Hou Gong Zhen" (2011), and so on.It has gradually become a cultural phenomenon worth thinking about.Since the 1980s, there have been court dramas to meet the audience every year in China, but it is only in recent years that a TV play can cause such a huge impact.Most of these court plays take women as important roles, from the earliest "Nuerhachi" in 1986 and "Wang Zhaojun" in 1987 to the popular "step by step surprise" in recent years and the "Palace Lock Jade" in 2011. What are the reasons for this, and what has changed the female image in the film?!!! (?!!!???To create today's court drama entertainment frenzy?This article mainly carries on the explanation to this question from four aspects.First, the introduction part, discusses the importance of studying this phenomenon, and carries on the literature review.Secondly, referring to the description of court drama in many literary theories, this paper analyzes the elements that should be possessed in a court drama, and tries to define "what is court drama" in combination with specific court drama works.Third, this paper divides the 30 years since the 1980s into three periods. According to different time periods, we select the representative female characters of court drama at that time, combining the appearance of characters and the formation of character.In terms of the significance of the times, this paper analyzes the emphasis of different times in shaping the female image, and sums up the evolution of the female image in the past 30 years through four main characteristics.Fourth, this article from the political economy, the science and technology, the social culture three aspects, the author unifies the contemporary to the palace drama creation, the female image mold, the audience esthetic change and so on has the important influence four "emerging texts".The reason why the female image of court drama changed in this 30 years is analyzed in detail.TV dramas are the product of pure vulgar culture, and so are court dramas.The female audience, as the most important consumer, should not be absent and voiceless in the discourse of the mass media, nor should it be demonized.Although there are not a few researches on the relationship between feminism and mass media in our country, the accuracy is difficult to match that of foreign countries.The purpose of this paper is to refine the status and needs of women by sorting out the changes of women's images in court dramas of different times, and even to become a unique "court drama" today, thus contributing to the study of feminism and mass media.
【学位授予单位】：重庆大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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