网络剧的平面化逻辑研究

发布时间：2018-07-03 21:22

本文选题：网络剧 + 平面化　；参考：《辽宁大学》2017年硕士论文

【摘要】：围绕“平面化基点下的网络剧研究”,论文主要包括绪论、正文、结束语三个部分,其中论文正文部分共分为五章。绪论部分首先是对平面化、网络剧进行概念界定,本论文认为“平面化”这一概念经由苏珊·桑格塔、丹尼尔·贝尔等人的历时性阐释后,通过詹明信的理论整合著述成为一个独立形容后现代主义的文学术语,“平面化”即将意义减至零的状态,在这种状态之下,文本的本质消失、所指消失、深层意义消失,取而代之的是文本中直观思维的穿行、日常生活世相的呈示以及非理性主体的自我意识的张扬,而这些特性也恰是解读网络剧文本所必要的。作为一种互联网和影视艺术相结合的先锋性影视艺术形态,“网络剧”是后现代社会消费文化语境下的产物,它是一种互联网与影视艺术相结合的先锋性的影视艺术形态,是传统电视剧在内容上的扩充,形式上的异变;网络剧最大的特点是互动性,它的核心概念是剧,因而具有一定的故事情节。它与网络文学在游戏性、生活化以及功利化追求上有着内在精神的共通性;而它碎片化拼贴、游戏化戏仿的叙事策略、语言的游戏化狂欢都是后现代主义平面化特性的彰显。对网络剧的消费是一种影像符号消费,这种影像符号消费背后是受众个体欲望的宣泄,以及宣泄之后现实困顿的象征性解决。其次是网络剧的研究综述。在此本论文从网络剧自身特性研究、网络剧文本研究以及网络剧的产业经济研究三个维度着手,并对同一维度下的不同研究视角予以观照,对业已存在的网络剧研究文本进行分类整理。再次是关于本论文研究意义与创新之处的阐释。本论文对网络剧评论、网络剧改编以及网络剧受众研究具有现实意义;而后现代平面化审美品格维度下网络剧审美意蕴的全新阐释、网络剧文学审美内涵的全新挖掘是本论文的创新之处。最后是对研究方法的介绍。本论文采用理论分析与案例分析相结合、文献综述和资料搜集相结合以及数据分析法对网络剧进行解读。第一章是对网络剧平面化特性的孕生语境的揭示。催生网络剧平面化色彩晕染的文化语境有三:一是消费文化语境中追求视觉快感的满足和平面感官的愉悦;二是网络剧创作者对网络剧受众审美意趣的有意贴合;三是网络剧对追求生活化、游戏化、功利化的网络文学精神的承袭以及由于播放平台的更迭诱使的传统电视剧在受众定位、叙事节奏、题材选择等方面产生的变异。第二、三、四章分别利用平面化的三大特性即:距离感消失、直观化思维、非理性主体对网络剧进行文本释读。第二章是关于网络剧思想内容方面的介绍。在本论文中网络剧“距离感”的消失体现在其对宏大题材的摒弃、对沉重主题的剥离以及对传统人物形象塑造手法的玩弄重组。在这里网络剧以对日常生活沉潜世相的注目完成对崇高宏伟的出走,这种出走通过对情景喜剧、志怪故事等谐趣觅奇化题材的机巧择取,对青春、爱情、梦想等年轻时尚主题的流动陈示以及扁平人物精致化、圆形人物简单化的灵动活脱人物的别样形塑来实现。第三章则从网络剧的艺术风格入手,认为网络剧从表现手法、语言表达、结构设计等方面彰示着平面化直观思维调控的烙印。以碎片化拼贴和游戏化戏仿的讽刺恶搞使权威脱冕,通过多重语种杂糅并置、网络流行语的采撷粘合、轻奢段子智性创生的狂欢肆意的语言肢解游戏以及连续式、系列式、单元版块式网络剧多元结构的拆简构筑实现与经过直线型网络思维雕塑,更易于接受平面化、简单化、碎片化的叙事艺术风格的网络受众审美表达习惯的耦合。第四章是平面化的非理性主体与网络剧的碰撞。超强互动性是网络剧的特性,“授—受”角色一体化是网络剧双向平面主体的独特言说方式,这种言说方式背后是平面化非理性自我意识的张扬。在网络剧的传播路径中有多重“我”的在场,在这里“我”亦或是表征个性旨趣的创作者、亦或是契入主体意愿的受众,还亦或是审美取向各异的多媒体界质。在这里身份不同角色各异的“我”交错并置,在看与被看的审视言说、本真化人格的降格呈现中,借由个体欲望的宣泄实现认知背景下现实困顿的象征性解决与想象性补偿,并于这种“授—受”角色共振的多声部杂语中实现人文承担。第五章是对平面化欲求膨胀致使网络剧文学审美品格流散的文本表现与原因探析,并由此引申开来希冀网络剧可以在不断规整完善自我的同时,以高品质的文艺精品从网剧评论、网剧改编以及网络公共空间的文学反思等方面促成网络文艺版图的充盈。本论文认为市场化商业逻辑对文艺作品艺术韵味的消蚀和网络剧创作者对粉丝效应的迷狂化追寻造成了网络剧艺术审美品格的流失与消解,这种流失与消解主要体现为文本创作的粗糙杂芜与意义叩问的缺失。
[Abstract]:The thesis mainly includes the introduction, the text and the end of the three parts. The main body of the thesis is divided into five chapters. The first part of the thesis is the definition of the concept of the planarization and the network play. This thesis believes that the concept of "flatness" is via Susan Sangueta, Daniel Bell and others. After the diachronic interpretation, through the theoretical integration of Jen Ming letter, it becomes an independent literary term for postmodernism. In this state, the meaning of "flatness" is reduced to zero. In this state, the essence of the text disappears, the meaning disappears, the deep meaning disappears, and it is replaced by the passage of visual thinking in the text, the daily life phase. The presentation and the self awareness of the non rational subject, which are just the necessary to unscramble the text of the Internet drama, are the vanguard film and television art formed by the combination of the Internet and the film and television art. "Network drama" is a product in the context of consumer culture in the post modern society. It is a combination of the Internet and the art of film and television. The vanguard film and television art form is the expansion of the traditional TV play in the content and the variation in the form; the biggest characteristic of the network drama is the interactivity. Its core concept is the play, so it has a certain story plot. It has the inner spirit with the network literature in the game, life and utilitarianism; and it is fragmented. The narrative strategy of collage, game oriented parody, the game oriented Carnival of language is the highlight of the postmodernism. The consumption of the network drama is a kind of image symbol consumption, which is behind the release of the audience's individual desire, as well as the symbolic solution of the practical difficulties after catharsis. Secondly, the research synthesis of the network drama. This thesis begins with the study of its own characteristics, the study of the text of the network drama and the research on the industrial economy of the network drama, and the different research perspectives under the same dimension, and classifies the existing research texts of the network plays. Again, the interpretation of the significance and innovation of this paper is also explained. This thesis is of practical significance to the review of the network drama, the adaptation of the network drama and the research of the audience of the network drama; the new interpretation of the aesthetic connotation of the network drama under the modern plane aesthetic character dimension and the new excavation of the aesthetic connotation of the network drama literature are the innovation of this thesis. Analysis is combined with case analysis, literature review, data collection and data analysis are used to interpret the network play. The first chapter is the revelation of the pregnant context of the plane characteristic of the network drama. The cultural context of promoting the planar color halo of the network drama is three: one is to pursue the satisfaction and flatness of the visual pleasure in the context of the consumer culture. The pleasure of the official; two is the intentional fitting of the Internet opera creator to the aesthetic interest of the audience of the network drama; the three is the inheritance of the network literature spirit pursuing the life, the game, the utilitarianism, and the variation of the audience orientation, the narrative rhythm, the subject choice and so on due to the change of the playback platform. Second, third The four chapter uses the three characteristics of planarization, namely, the disappearance of distance sense, visual thinking, and the text interpretation of the Internet play by the irrational subject. The second chapter is about the content of the ideological content of the network drama. The disappearance of the "sense of distance" in this thesis is reflected in the abandonment of the theme of the macro and the big themes and the dissection of the heavy themes. In this way, the network plays a lofty and magnificent departure for the attention of the daily life of the life of the daily life, this walk through the scene comedy, the strange story and other interesting looking for the curious subject matter, the youth, love, dream and other young fashion themes and flattened characters The third chapter, starting with the artistic style of the network drama, thinks that the network play has the brand of the horizontal and visual thinking regulation from the expression techniques, the language expression and the structure design. It is easier to accept planification, simplification and fragmented narration. The fourth chapter is the coupling of the aesthetic expression habits of the artistic style of the Internet audience. The fourth chapter is the collision of the flat non rational subject and the network drama. The super strong interaction is the characteristic of the network drama, and the integration of the "teaching and receiving" is the unique way of talking about the two-way plane subject of the network drama, which is behind the flat irrational self consciousness. In the transmission path of the network drama, there are multiple "I" in the presence of the "I" or the creator of the personality purpose, or the audience which is fit for the subject's will, or the multi-media quality of different aesthetic orientation. In the downfall of the true personality, the symbolic solution and imaginative compensation of the realistic predicament under the cognitive background are realized by the catharsis of the individual desire, and the humanistic undertaking is realized in the multi voice miscellaneous language of the "receive" role resonance. The fifth chapter is the text expression of the disintegration of the aesthetic character of the network drama literature by the expansion of the planarization desire. On the basis of the reasons, it is hoped that the network play can make the network art layout filled with the high quality literature and art reviews, the adaptation of the network drama and the literature reflection on the network public space. This paper holds that the market commercial logic has the charm of literary and artistic works. The erosion and the fanaticism of the creator of the network drama created the loss and digestion of the aesthetic character of the art of the network drama, which is mainly reflected in the rough and miscellaneous of the text creation and the lack of meaning.
【学位授予单位】：辽宁大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905;I206.7

【参考文献】