新世纪我国谍战题材电视剧的艺术特征论析
发布时间：2018-12-16 08:37
【摘要】：谍战剧以特定历史时期的秘密地下战争为背景,反应特请人员与反间谍部门之间以情报的收集与传递、特殊任务(策反、刺杀、破坏)的执行与侦破为主要情节的影视剧类型。在我国,谍战叙事最早可以追溯至民国时期的间谍小说,包括“潜伏”和“锄奸”两个基础叙事类型自建国以降,我国的谍战题材影视剧经历了三个发展阶段,即1949-1965年十七年时期的特情电影;1980-2000年的谍战题材电视连续剧;以及2002年至今的新世纪谍战剧。本文以2002年至今的国产谍战剧为主要研究对象,以历时性研究的视角,结合类型创作所面临的多重语境(国家话语方式变迁、市场消费文化盛行以及艺术的内在自省)进行关照,并结合不同时期的代表性文本,对2002年至2016年期间谍战剧艺术创作中形成的艺术特征进行论析。依此行文逻辑,本研究的主体论述部分分为四个章节,分别为:(1)新世纪谍战剧的奠基时期。该阶段以《誓言无声》作为代表性文本,论述其对于传统“惊现美学”的继承以及“悲剧意识”的形成,以黑格尔的悲喜剧理论中的戏剧冲突理论为主要理论工具为;(2)新世纪谍战剧的发展期。该阶段以《暗算》为代表性文本,论述其“奇观叙事”的创作倾向,以艾尔雅维茨的视觉奇观理论为主要理论工具;(3)新世纪谍战剧的成熟期。该阶段以《潜伏》为代表性文本,论述其“日常美学”的建构,以文本分析作为主要研究方法;(4)新世纪谍战剧的转型期。该阶段以《伪装者》为代表性文本,论述其体现的类型融合,以符号学语义矩阵作为文本分析的理论工具,同时融合了青春偶像剧以及家庭伦理剧的类型研究;简言之,谍战剧是国家主流文化与市场消费文化所共谋的产物,在新世纪的十余年发展历程中,形成了一套比较稳固的电视剧形式与风格,其中的某些艺术特征是在该类型电视剧的创作中一以贯之并繁荣发展,并最终形成一种该类型电视剧叙事的基础模式;而另一些,则是随着某一代表性作品在一段时间内的热映而受到广泛关注,彰显了某种隐藏着的文化和社会意涵。本研究致力于对新世纪以来谍战剧整体艺术风格中的变与不变进行论析,在纵向的梳理中把脉该类型电视剧的发展历程和趋势,并为未来的实践提供依据和参考。
[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.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905
本文编号：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.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905
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