中韩电视剧叙事文化比较研究
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摘要
文本以电视剧叙事文化为研究对象,采用比较研究的方法,运用叙事学、接受美学、社会学、心理学等理论,通过深入分析、考察在亚洲掀起收视热潮的韩剧这一特殊文化现象,系统地研究其历史发展及其文化语境,揭示韩剧的叙事类型、叙事特点、审美取向之间的内在关系,从而深入探讨韩剧在中国传播与接受过程中的受众结构、接受心理和文化根源等问题。并以韩剧为参照,梳理二十世纪八十年代以来中国大陆电视剧的发展演变,它的叙事特点与电视剧文化特质。在对比分析的基础上,揭示电视剧制作背后的文化传播、意识形态、艺术追求与商业运作等的内在规律性,为中国电视剧文化的建设和发展提供有益的借鉴。
In modern times, the art forms of mass popular culture tend to be diversified while the mass popular culture takes up its increasingly important role in people’s every day life. With the development of science and technology, the human being has been ushered into the era of“reading pictures”. The development of image arts has attracted the concerns of more and more people, even those of the scholars of academic school. In fact, the popular culture has been the focus of attention and studies for a very long time in history. However, how much the popular culture is valued and concerned about vary from each other according to their morphology.
The TV play series culture, as the research theme of this article, serves as a form of popular culture which is developed only recently with fairly few previous research outcomes. On the other hand, it is also one of the most common types of popular culture closely related to the modern life.
As the social economy develops, the social advances and globalization has been sped up, which has led the development of Chinese culture to a historical context that has never been experienced. It is against such a background that Chinese TV play series culture grows at an increasingly rapid pace.
The study of this thesis is focused on the art performance of Chinese TV play series in the comparison with the closely related“other”—Korean TV play series. Through the comprehensive studies of all the aspects in the narrative arts of Korean TV play series and the rather detailed style of comparison and contrast, The TV play series, as a form of popular culture, can be approached and understood in a more profound style. Meanwhile, the evolution and development of the TV play series arts in China are also further involved. Besides this, the advantages and disadvantages of Chinese TV play series are also reflected in the comparative studies with Korean counterparts as the reference.
It can be assured to say that this thesis approaches the research theme from an appropriate perspective, not too generalized nor too narrowed, to study the paradigms and internal characteristics of popular culture. However, this study is also based on a broadened horizon through the contrast of narration culture of Chinese and Korean TV play series, with a view to the presentation of the diversity of narration arts of TV play series. In the meantime, the historical perspective is taken to examine the complicated evolution process that TV play series art has gone through. In the integrated perspective of synchronic and diachronic studies, the historical and cultural background of TV program narrative style, the inner characteristics and complexity of art aesthetic implications are demonstrated in this thesis.
The research methodology integrating theoretical and textual analysis is adopted for the purpose of this these. The TV play series art and its inner features are studied and understood from the macro and micro perspective based on the comparison analysis. Meanwhile, both Chinese and Korean TV play series are placed on the same platform through the contrast and comparison of their aesthetic characteristics, the representing styles, operational mechanism, the cultural and historical values and the cultural functions, etc.
Firstly, the Korean TV play series are selected as the reference sample due to its strong features of integrated style and obvious presenting styles. Considering the sameness of Korean’s origin for the narrative culture of TV series play as that of Chinese TV programs, the diverse developmental status and current situation between them can be picked as the one of the key aspects for research. In this way, an interrelated reference system can be formed easily in our vision. The comprehensive studies of the reference system can help us better understand the narration arts of popular TV programs, which can also exert immediate inspiring implications on how we can handle the issues arising in the Chinese TV industry.
In order to enhance the systematic nature of our study, the relevant theories concerning arts are involved, including narratology theory, response aesthetics theory, the artistic theory of TV and film, the communications and mass media theories, aiming at a more effective studies with more profundity.
In the first chapter, the communication and reception of a Korean TV play series in China is presented, as a type of a popular culture representation. Meanwhile, the illustration of history and relevant factors are referred to as the introduction of the popularity and influence of Korean TV play series in China. The relationship between the popularity of Korean TV play series and that of Korean culture in China is also analyzed. In this chapter, we investigate the viewership rate of some Korean TV play series in China while explaining the different reception and attitude toward the Korean TV play series. Moreover, the views that Chinese TV program producers hold to concerning the Korean TV play series and other relevant issues are involved. The three main types of narration styles, namely the family ethic series, the romance and idol dram series and the historic lyrics, are analyzed to understand the relevant mental reception modes of the Chinese audience toward. Upon the multi-perspective and multi-aspect investigation and analysis, this chapter offers a generalization of the uniqueness and reasons that the Korean TV play series have become one type of modern popular culture. The involved advantages and disadvantages are also discussed.
In Chapter Two, we discuss the traditional cultural origins for the Korean TV play series to be communicated and accepted in China. The three types of narrative discourse power, including the ethic narrative discourse, the female narration and hero narrative discourse, are analyzed one by one, which are placed against the background of historical culture, with the western culture as the reference, to discuss the common cultural base and historical bearings of eastern traditional Confucian culture for the Chinese and Korean TV play series. On the one hand, the conceptual permeation of traditional Confucian culture, centering on the Chinese cultural circle, into the modern artist form of TV play series is explored, especially the treatment of ethic relations, moral ideas, and vision of home and state, which has greatly influenced the formation of aesthetic style and atmosphere. On the other hand, in modern society, the ideology and representation of eastern culture is under the incessant shock and influence exerted from the western culture as a source of heterogeneity. In this chapter, the artistic styles of Chinese and Korean TV play series, their representation characteristics and the corresponding significances are discussed in the cultural fields commonly formed by both eastern and western cultural traditions.
Chapter Three renders to us the modern aesthetic and cultural origin for the Korean TV play series to be communicated and accepted in China. Firstly, we offer an analysis of the aesthetic values system of Korean TV plays series from the perspective of response aesthetics. Meanwhile the representation of daily aesthetics in the TV program and the perfect presentation of“Pure love”, integrated with all kinds of cultural elements in Korea, are accomplished. It is easy to find out that there is a rather conservative tendency in the aesthetics of Korean mass culture, both emotionally and psychologically. The conservative degree of Korean popular culture is even larger than that of the mass culture in China, which is centered on the aesthetical dimension of harmony and gentleness. However, the characteristics of passion, tension, avant-garde, and paradox, which are seldom mixed in the Korean TV play series, tend to be some elements of Chinese TV play series. The aesthetic styles of Korean TV play series are normally relaxing, harmonious, gentle and romantic, aiming at the relief and pleasure of the emotions and feelings in the audience.
In Chapter Four, the narration culture of Korean and Chinese TV play series are compared against each other in a comprehensive style. Firstly, we investigate the development and evolution of Chinese TV play series by analyzing the cultural thoughts and social background of TV play series development in China. It is found out that Chinese TV play series are rooted with more historical and social discourse reasons than that of Korea in terms of the genes and aesthetic representation. There are a variety of themes and representative styles in Chinese TV play series, demonstrating great difference with Korean TV play series which are in pursuit of gentleness, honesty and sincerity. A lot of genes of Chinese TV play series are explored in this chapter, including the ancient costume historic lyrics, the criminal & detection series, the family ethic drama, the drama themed anti corruption, the urban dwellers’romance, the citizens’life series, the countryside comedy and Kongfu drama. Meanwhile, it is attempted at the interpretation of TV play series as a type of popular cultural narration, serving as a complementary element co-existent with the masterpiece and elite culture in an interdependent and interrelated dynamic style. Besides this, the difference of production mechanism, the social economic background, the diverse reception groups and their reception psychology, and the various requirements and attitude toward the play are contrasted. Comparatively speaking, the producing mechanism of Chinese TV play series is not so mature as that of Korea. The Chinese audience groups features with more complexity in terms of its structure with various viewership rate corresponding to different places, nationalities and gender. The Chinese TV play series producers lay more emphasis on the literature implications and conveyance of connotation in the TV play series production while the Korean counterparts are more familiar with the techniques of delivering the textual language in the lens language.
Through our studies, it is not hard for us to find out some issues of inspiration and warning nature regarding the development of Chinese TV industry.
On the basis of the comparison of the production mode and mechanism between the Chinese and Korean TV play series, we can discover that Korean TV program production features with higher tendency in commercial, industrial and mechanical modes than that of Chinese. We can not use the good or bad criterion to judge them. On the contrary, we should deal with the difference with more tolerance and concerns about the realistic implications. We need to learn about the producing capacity with high efficiency and low cost in Korean TV industry while preventing us from exposure to the routine and simplified tendency in the production of TV play series in Korea.
Besides this, the incessant creation of entertainment products for relaxation and leisure shall remain as one of the most important themes in the cultural industry of TV play series in the current age of entertainment in China. One of the most important capacities that the modern popular culture is after involves the real entertaining factors that can easily turn the serious and ponderous events into something relaxing and humorous.
The Chinese audience structure is undoubtedly very complicated in terms of social class, genders, age, geographical location and custom. However the ideology reflected in the TV play series are far from diversified. The grand narrative style and the realistic and critic nature of the arts are valued more than anything else in Chinese TV play series, failing to deliver the romance thoroughly compared to Korean TV play series. Generally speaking, the works of various genes featuring simple, relaxed and humorous themes with high taste is just what China lack most in its TV industry. Although there is no one-word generalized description about the complexity of Chinese TV play series, more efforts should be made to enhance the diversity of Chinese TV play series
Many Chinese directors think that Chinese are brilliant audience with excellent aesthetic taste and great savvy. Most of the excellent TV program producers are trying to create works with more profound, thoughtful and enlightened theme so that the realistic resonance and loftiness can be revealed in the programs. However, the overdue stress on the nobility in the program themes has partly led to the exploration of more diversified emotional status and aesthetic tastes, the universal ignorance of presenting the characters that have a simple life, if not intentionally. Actually, the Korean TV programs do not exert too much shock on the TV play series market. It is no denying that the simplicity and cleanness of Korean TV program series do refresh the vision of the Chinese audience. Chinese are used to the obsession of the implicitly and nobility due to the several thousand years of history. It is just because of this that people’desire for simplicity and innocence has not been satisfied enough. That is why the Korean TV play series can find its niches in China.
Surely enough that we cannot review the two morphologies of Chinese and Korea TV play series based on the previous verdict. It is expected to explore all the aspects that contribute to the diversified development of Chinese TV play series from the perspective of making judgment concerning the factual situation of Chinese TV play series. That is to say that the TV program producers do not have to copy the mode of entertainment style in Korea to produce our own programs. On the contrary, under the inspiration from the producing mechanism and genes of Korean TV programs, more efforts should be pulled into the discovery of more beneficial development mechanism and more diversified presentation styles in order to promote the sound and perfect development of TV play series industry in China.
In modern times, the art forms of mass popular culture tend to be diversified while the mass popular culture takes up its increasingly important role in people’s every day life. With the development of science and technology, the human being has been ushered into the era of“reading pictures”. The development of image arts has attracted the concerns of more and more people, even those of the scholars of academic school. In fact, the popular culture has been the focus of attention and studies for a very long time in history. However, how much the popular culture is valued and concerned about vary from each other according to their morphology.
The TV play series culture, as the research theme of this article, serves as a form of popular culture which is developed only recently with fairly few previous research outcomes. On the other hand, it is also one of the most common types of popular culture closely related to the modern life.
As the social economy develops, the social advances and globalization has been sped up, which has led the development of Chinese culture to a historical context that has never been experienced. It is against such a background that Chinese TV play series culture grows at an increasingly rapid pace.
The study of this thesis is focused on the art performance of Chinese TV play series in the comparison with the closely related“other”—Korean TV play series. Through the comprehensive studies of all the aspects in the narrative arts of Korean TV play series and the rather detailed style of comparison and contrast, The TV play series, as a form of popular culture, can be approached and understood in a more profound style. Meanwhile, the evolution and development of the TV play series arts in China are also further involved. Besides this, the advantages and disadvantages of Chinese TV play series are also reflected in the comparative studies with Korean counterparts as the reference.
It can be assured to say that this thesis approaches the research theme from an appropriate perspective, not too generalized nor too narrowed, to study the paradigms and internal characteristics of popular culture. However, this study is also based on a broadened horizon through the contrast of narration culture of Chinese and Korean TV play series, with a view to the presentation of the diversity of narration arts of TV play series. In the meantime, the historical perspective is taken to examine the complicated evolution process that TV play series art has gone through. In the integrated perspective of synchronic and diachronic studies, the historical and cultural background of TV program narrative style, the inner characteristics and complexity of art aesthetic implications are demonstrated in this thesis.
The research methodology integrating theoretical and textual analysis is adopted for the purpose of this these. The TV play series art and its inner features are studied and understood from the macro and micro perspective based on the comparison analysis. Meanwhile, both Chinese and Korean TV play series are placed on the same platform through the contrast and comparison of their aesthetic characteristics, the representing styles, operational mechanism, the cultural and historical values and the cultural functions, etc.
Firstly, the Korean TV play series are selected as the reference sample due to its strong features of integrated style and obvious presenting styles. Considering the sameness of Korean’s origin for the narrative culture of TV series play as that of Chinese TV programs, the diverse developmental status and current situation between them can be picked as the one of the key aspects for research. In this way, an interrelated reference system can be formed easily in our vision. The comprehensive studies of the reference system can help us better understand the narration arts of popular TV programs, which can also exert immediate inspiring implications on how we can handle the issues arising in the Chinese TV industry.
In order to enhance the systematic nature of our study, the relevant theories concerning arts are involved, including narratology theory, response aesthetics theory, the artistic theory of TV and film, the communications and mass media theories, aiming at a more effective studies with more profundity.
In the first chapter, the communication and reception of a Korean TV play series in China is presented, as a type of a popular culture representation. Meanwhile, the illustration of history and relevant factors are referred to as the introduction of the popularity and influence of Korean TV play series in China. The relationship between the popularity of Korean TV play series and that of Korean culture in China is also analyzed. In this chapter, we investigate the viewership rate of some Korean TV play series in China while explaining the different reception and attitude toward the Korean TV play series. Moreover, the views that Chinese TV program producers hold to concerning the Korean TV play series and other relevant issues are involved. The three main types of narration styles, namely the family ethic series, the romance and idol dram series and the historic lyrics, are analyzed to understand the relevant mental reception modes of the Chinese audience toward. Upon the multi-perspective and multi-aspect investigation and analysis, this chapter offers a generalization of the uniqueness and reasons that the Korean TV play series have become one type of modern popular culture. The involved advantages and disadvantages are also discussed.
In Chapter Two, we discuss the traditional cultural origins for the Korean TV play series to be communicated and accepted in China. The three types of narrative discourse power, including the ethic narrative discourse, the female narration and hero narrative discourse, are analyzed one by one, which are placed against the background of historical culture, with the western culture as the reference, to discuss the common cultural base and historical bearings of eastern traditional Confucian culture for the Chinese and Korean TV play series. On the one hand, the conceptual permeation of traditional Confucian culture, centering on the Chinese cultural circle, into the modern artist form of TV play series is explored, especially the treatment of ethic relations, moral ideas, and vision of home and state, which has greatly influenced the formation of aesthetic style and atmosphere. On the other hand, in modern society, the ideology and representation of eastern culture is under the incessant shock and influence exerted from the western culture as a source of heterogeneity. In this chapter, the artistic styles of Chinese and Korean TV play series, their representation characteristics and the corresponding significances are discussed in the cultural fields commonly formed by both eastern and western cultural traditions.
Chapter Three renders to us the modern aesthetic and cultural origin for the Korean TV play series to be communicated and accepted in China. Firstly, we offer an analysis of the aesthetic values system of Korean TV plays series from the perspective of response aesthetics. Meanwhile the representation of daily aesthetics in the TV program and the perfect presentation of“Pure love”, integrated with all kinds of cultural elements in Korea, are accomplished. It is easy to find out that there is a rather conservative tendency in the aesthetics of Korean mass culture, both emotionally and psychologically. The conservative degree of Korean popular culture is even larger than that of the mass culture in China, which is centered on the aesthetical dimension of harmony and gentleness. However, the characteristics of passion, tension, avant-garde, and paradox, which are seldom mixed in the Korean TV play series, tend to be some elements of Chinese TV play series. The aesthetic styles of Korean TV play series are normally relaxing, harmonious, gentle and romantic, aiming at the relief and pleasure of the emotions and feelings in the audience.
In Chapter Four, the narration culture of Korean and Chinese TV play series are compared against each other in a comprehensive style. Firstly, we investigate the development and evolution of Chinese TV play series by analyzing the cultural thoughts and social background of TV play series development in China. It is found out that Chinese TV play series are rooted with more historical and social discourse reasons than that of Korea in terms of the genes and aesthetic representation. There are a variety of themes and representative styles in Chinese TV play series, demonstrating great difference with Korean TV play series which are in pursuit of gentleness, honesty and sincerity. A lot of genes of Chinese TV play series are explored in this chapter, including the ancient costume historic lyrics, the criminal & detection series, the family ethic drama, the drama themed anti corruption, the urban dwellers’romance, the citizens’life series, the countryside comedy and Kongfu drama. Meanwhile, it is attempted at the interpretation of TV play series as a type of popular cultural narration, serving as a complementary element co-existent with the masterpiece and elite culture in an interdependent and interrelated dynamic style. Besides this, the difference of production mechanism, the social economic background, the diverse reception groups and their reception psychology, and the various requirements and attitude toward the play are contrasted. Comparatively speaking, the producing mechanism of Chinese TV play series is not so mature as that of Korea. The Chinese audience groups features with more complexity in terms of its structure with various viewership rate corresponding to different places, nationalities and gender. The Chinese TV play series producers lay more emphasis on the literature implications and conveyance of connotation in the TV play series production while the Korean counterparts are more familiar with the techniques of delivering the textual language in the lens language.
Through our studies, it is not hard for us to find out some issues of inspiration and warning nature regarding the development of Chinese TV industry.
On the basis of the comparison of the production mode and mechanism between the Chinese and Korean TV play series, we can discover that Korean TV program production features with higher tendency in commercial, industrial and mechanical modes than that of Chinese. We can not use the good or bad criterion to judge them. On the contrary, we should deal with the difference with more tolerance and concerns about the realistic implications. We need to learn about the producing capacity with high efficiency and low cost in Korean TV industry while preventing us from exposure to the routine and simplified tendency in the production of TV play series in Korea.
Besides this, the incessant creation of entertainment products for relaxation and leisure shall remain as one of the most important themes in the cultural industry of TV play series in the current age of entertainment in China. One of the most important capacities that the modern popular culture is after involves the real entertaining factors that can easily turn the serious and ponderous events into something relaxing and humorous.
The Chinese audience structure is undoubtedly very complicated in terms of social class, genders, age, geographical location and custom. However the ideology reflected in the TV play series are far from diversified. The grand narrative style and the realistic and critic nature of the arts are valued more than anything else in Chinese TV play series, failing to deliver the romance thoroughly compared to Korean TV play series. Generally speaking, the works of various genes featuring simple, relaxed and humorous themes with high taste is just what China lack most in its TV industry. Although there is no one-word generalized description about the complexity of Chinese TV play series, more efforts should be made to enhance the diversity of Chinese TV play series
Many Chinese directors think that Chinese are brilliant audience with excellent aesthetic taste and great savvy. Most of the excellent TV program producers are trying to create works with more profound, thoughtful and enlightened theme so that the realistic resonance and loftiness can be revealed in the programs. However, the overdue stress on the nobility in the program themes has partly led to the exploration of more diversified emotional status and aesthetic tastes, the universal ignorance of presenting the characters that have a simple life, if not intentionally. Actually, the Korean TV programs do not exert too much shock on the TV play series market. It is no denying that the simplicity and cleanness of Korean TV program series do refresh the vision of the Chinese audience. Chinese are used to the obsession of the implicitly and nobility due to the several thousand years of history. It is just because of this that people’desire for simplicity and innocence has not been satisfied enough. That is why the Korean TV play series can find its niches in China.
Surely enough that we cannot review the two morphologies of Chinese and Korea TV play series based on the previous verdict. It is expected to explore all the aspects that contribute to the diversified development of Chinese TV play series from the perspective of making judgment concerning the factual situation of Chinese TV play series. That is to say that the TV program producers do not have to copy the mode of entertainment style in Korea to produce our own programs. On the contrary, under the inspiration from the producing mechanism and genes of Korean TV programs, more efforts should be pulled into the discovery of more beneficial development mechanism and more diversified presentation styles in order to promote the sound and perfect development of TV play series industry in China.
引文
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