發(fā)布時(shí)間：2018-11-27 20:51

【摘要】：抗日戰(zhàn)爭(zhēng)是中華民族反抗日本侵略的民族戰(zhàn)戰(zhàn)爭(zhēng)�？谷疹}材電視劇指的是以抗日戰(zhàn)爭(zhēng)為背景,記錄和再現(xiàn)中國(guó)人民反抗日本侵略的電視劇�？谷談〕休d了中華民族反抗外來(lái)侵略的民族精神,在滿足了國(guó)家意識(shí)形態(tài)對(duì)民族歷史記憶重構(gòu)的同時(shí)又滿足觀眾對(duì)抗戰(zhàn)歷史的想象,具有特殊的時(shí)代政治意義。國(guó)產(chǎn)抗日劇出現(xiàn)在二十世紀(jì)八十年代,經(jīng)歷了八十年代嚴(yán)肅的抗日劇、九十年代消費(fèi)轉(zhuǎn)型的抗日劇到新世紀(jì)多元娛樂(lè)化的抗日劇三個(gè)階段。新世紀(jì)的抗日劇為追求經(jīng)濟(jì)利潤(rùn),隨意扭曲歷史,嫁接各種商業(yè)娛樂(lè)元素,將抗戰(zhàn)歷史游戲化,抗日劇出現(xiàn)了過(guò)度娛樂(lè)化現(xiàn)象,產(chǎn)生了一系列的負(fù)面影響。本文將從梳理國(guó)產(chǎn)抗日劇的發(fā)展史入手,分析國(guó)產(chǎn)抗日劇的過(guò)度娛樂(lè)化現(xiàn)象,解析國(guó)產(chǎn)抗日劇過(guò)度娛樂(lè)化的原因,對(duì)國(guó)產(chǎn)抗日劇的過(guò)度娛樂(lè)化進(jìn)行價(jià)值評(píng)判,最后提出筆者對(duì)改善國(guó)產(chǎn)抗日劇的過(guò)度娛樂(lè)化現(xiàn)象的發(fā)展思考。全文共分為五章,第一章梳理國(guó)產(chǎn)抗日劇的發(fā)展史。第二章描述新世紀(jì)國(guó)產(chǎn)抗日劇的過(guò)度娛樂(lè)化現(xiàn)象,首先分析娛樂(lè)和過(guò)度娛樂(lè)化的區(qū)別,指出新世紀(jì)國(guó)產(chǎn)抗日劇存在過(guò)度娛樂(lè)化的現(xiàn)象。最后,對(duì)新世紀(jì)抗日劇的過(guò)度娛樂(lè)化的表現(xiàn)形態(tài)進(jìn)行分析。第三章主要是分析國(guó)產(chǎn)國(guó)產(chǎn)抗日劇的過(guò)度娛樂(lè)化的原因。主要從消費(fèi)文化下消費(fèi)觀念的滲透、意識(shí)形態(tài)控制下的紕漏以及對(duì)觀眾觀眾的審美心理的曲意迎合三個(gè)方面分析。第四章主要是對(duì)國(guó)產(chǎn)抗日劇過(guò)度娛樂(lè)化現(xiàn)象進(jìn)行價(jià)值評(píng)判,筆者認(rèn)為過(guò)度娛樂(lè)化的抗日劇是對(duì)歷史的消解,造成受眾對(duì)戰(zhàn)爭(zhēng)的誤解,阻礙了觀眾審美素養(yǎng)的提高,導(dǎo)致了民族精神的虛無(wú)。第五章則是筆者對(duì)國(guó)產(chǎn)抗日劇的發(fā)展與思考提出建議,主要分為四點(diǎn),一是樹(shù)立理性的消費(fèi)觀念,挖掘抗日劇的精神內(nèi)涵;二是尊重歷史,注重抗日劇的社會(huì)效益;三是加強(qiáng)國(guó)家層面的監(jiān)管,完善電視節(jié)目審查制度,四是提高審美品位,堅(jiān)守抗日劇的歷史價(jià)值定位。最后,對(duì)未來(lái)抗日劇的發(fā)展進(jìn)行展望,首先肯定抗日劇存在的合理性,如何拍攝抗日劇是抗日劇發(fā)展的關(guān)鍵,希望實(shí)現(xiàn)抗日劇的社會(huì)效益與經(jīng)濟(jì)效益的雙豐收。
[Abstract]:The War of Resistance against Japan is a national war of the Chinese nation against Japanese aggression. Anti-Japanese TV series refers to the TV series in which the Chinese people resist Japanese aggression against the background of the War of Resistance against Japan. The anti-Japanese drama bears the national spirit of resisting foreign aggression of the Chinese nation and satisfies the reconstruction of national historical memory by national ideology and the imagination of the audience about the history of anti-Japanese war. It has special political significance of the times. The domestic anti-Japanese drama appeared in the eighties of the 20th century and experienced three stages: the serious anti-Japanese drama in the eighties, the anti-Japanese drama in the consumption transition in the 1990s and the multi-entertainment anti-Japanese drama in the new century. In the new century, in order to pursue economic profits, distort history at will, graft various elements of commercial entertainment, and play the history of the War of Resistance against Japan, the anti-Japanese drama has appeared the phenomenon of excessive entertainment, which has produced a series of negative effects. Starting with the history of domestic anti-Japanese drama, this paper analyzes the phenomenon of over-entertainment in domestic anti-Japanese drama, analyzes the causes of over-entertainment of domestic anti-Japanese drama, and evaluates the value of over-entertainment of domestic anti-Japanese drama. Finally, the author put forward to improve the development of the phenomenon of excessive entertainment of domestic anti-Japanese drama. This paper is divided into five chapters. The first chapter combs the history of domestic anti-Japanese drama. The second chapter describes the phenomenon of over-entertainment of domestic anti-Japanese drama in the new century. Firstly, it analyzes the difference between entertainment and over-entertainment, and points out that the phenomenon of over-entertainment exists in domestic anti-Japanese drama in the new century. Finally, the article analyzes the performance of the over-entertainment of anti-Japanese drama in the new century. The third chapter mainly analyzes the reason of excessive entertainment of domestic anti-Japanese drama. It mainly analyzes from three aspects: the penetration of consumption concept under the consumption culture, the flaws under the control of ideology and the pandering to the aesthetic psychology of the audience. The fourth chapter mainly evaluates the phenomenon of excessive entertainment of domestic anti-Japanese drama. The author thinks that the over-entertainment of anti-Japanese drama is the deconstruction of history, which causes the audience to misunderstand the war, and hinders the improvement of the audience's aesthetic literacy. It leads to the nothingness of the national spirit. The fifth chapter is the author's suggestions on the development and thinking of domestic anti-Japanese drama, mainly divided into four points, one is to establish a rational consumption concept, the other is to excavate the spiritual connotation of anti-Japanese drama, second, to respect history and pay attention to the social benefits of anti-Japanese drama; The third is to strengthen the supervision at the national level, to perfect the censorship system of TV programs, and the fourth is to improve the aesthetic taste and adhere to the historical value orientation of anti-Japanese drama. Finally, the development of anti-Japanese drama in the future is prospected. Firstly, the rationality of the existence of anti-Japanese drama is affirmed. How to film anti-Japanese drama is the key to the development of anti-Japanese drama, hoping to achieve the social and economic benefits of anti-Japanese drama double harvest.
【學(xué)位授予單位】：廣西師范學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J905

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本文編號(hào)：2362001