国产仙侠剧《青云志》和《三生三世十里桃花》的叙事创新
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摘要
从2005年《仙剑奇侠传》的火热开播至今,仙侠剧创造了一系列的收视记录。这股延续十多年的仙侠热潮,已成为一个值得关注的文化现象。近期热播的仙侠大剧《青云志》和《三生三世十里桃花》在继承仙侠剧一贯的叙事风格之上又有了创新之处:融入了女性主义叙事特质的《三生三世十里桃花》,将故事呈现视角以及英雄人物角色都向女性偏移,且赋予了女主人公新时代女性的一些特质,凸显了女性主体意识;而《青云志》则打破了传统仙侠剧正邪对立的叙事观念,在宏观上构建起一种众生平等、正邪无界的价值观。
Since the popular TV series The Legend of Sword and Fairy was on air in 2005,a series of records have been created. Myth TV plays hold ever high ratings. The trend,lasting over 10 years,has become another cultural phenomenon which deserves attention. The latest similar plays,The Legend of Chusen and Ten Great III of Peach Blossom,not only well inherit the everlasting narrative style,but also make some innovations. Ten Great III of Peach Blossom,which integrates female narrative style,is presented from the feminine perspective. What's more,in this play,the heroine is equipped with some characteristics of women in the new era,highlighting the consciousness of female. The Legend of Chusen breaks off the traditional idea of the conflict between good and evil,constructing a view of equality of all living beings and a world where good and evil are of no boundary on the macroscopic level.
Since the popular TV series The Legend of Sword and Fairy was on air in 2005,a series of records have been created. Myth TV plays hold ever high ratings. The trend,lasting over 10 years,has become another cultural phenomenon which deserves attention. The latest similar plays,The Legend of Chusen and Ten Great III of Peach Blossom,not only well inherit the everlasting narrative style,but also make some innovations. Ten Great III of Peach Blossom,which integrates female narrative style,is presented from the feminine perspective. What's more,in this play,the heroine is equipped with some characteristics of women in the new era,highlighting the consciousness of female. The Legend of Chusen breaks off the traditional idea of the conflict between good and evil,constructing a view of equality of all living beings and a world where good and evil are of no boundary on the macroscopic level.
引文
[1]《三生三世十里桃花》网播破180亿凤九凡间气死东华[EB/OL].(2017-02-22)[2017-05-01].http://fun.youth.cn/y124xs/201702/t20170222_9151341.htm.
[2]《三生三世十里桃花》完美收官95亿播放量加持新“剧皇”[EB/OL].(2017-03-02)[2017-05-03].http://e.gmw.cn/2017-03/02/content_23876426.htm.
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[11]朱清.《金色笔记》女性视角下的女性主体意识[J].外语研究,2009(3):101.
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[14]胡燕.奇诡荒诞至情至性——评玄幻武侠小说《诛仙》[J].当代文坛,2006(5):64.
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[16]李莉.当我们谈论爱情时,我们在谈论什么?——兼论近年中国爱情电影创作[J].重庆邮电大学学报(社会科学版),2018(1):129.
[2]《三生三世十里桃花》完美收官95亿播放量加持新“剧皇”[EB/OL].(2017-03-02)[2017-05-03].http://e.gmw.cn/2017-03/02/content_23876426.htm.
[3]杨璐.新神话主义浪潮下电视奇幻剧的兴起与展望[J].中国电视,2010(11):64.
[4]文卫华,曾一珺.IP热潮下国产玄幻剧叙事特色解析[J].中国电视,2016(12).
[5]张玲.论奇幻题材影视作品创作中的思维固化问题[J].中国电视,2016(12):29.
[6]王利丽,高慧.仙侠题材电视剧“人神遇合”母题的情节建构[J].西部广播电视,2016(15):96.
[7]管雪莲.超级IP制造时代的“玛丽苏式神话”[J].探索与争鸣,2016(3):73.
[8]西蒙娜·德·波伏娃.第二性:Ⅱ[M].陶铁柱,译.北京:中国书籍出版社,1998:323-324.
[9]卢蓉.90年代以来“神话——传奇”影像的叙事原型演变初论[J].当代电影,2010(1):102.
[10]杨莉馨.异域性与本土化女性主义诗学在中国的流变与影响[M].北京:北京大学出版社,2005:100.
[11]朱清.《金色笔记》女性视角下的女性主体意识[J].外语研究,2009(3):101.
[12]李敏.中国当代宫廷题材影视剧中的女性形象[D].济南:山东师范大学,2015:10.
[13]格雷马斯.结构语义学[M].蒋梓骅,译.天津:百花文艺出版社,2001:132.
[14]胡燕.奇诡荒诞至情至性——评玄幻武侠小说《诛仙》[J].当代文坛,2006(5):64.
[15]电视剧的竞争最终是品质和价值观的竞争[EB/OL].(2017-04-14)[2017-05-20].http://www.chinawriter.com.cn/n1/2017/0414/c405172-29209708.html.
[16]李莉.当我们谈论爱情时,我们在谈论什么?——兼论近年中国爱情电影创作[J].重庆邮电大学学报(社会科学版),2018(1):129.