青春书写·类型探索·文化表达——革命历史题材影视剧创作新变
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摘要
近年来,青春化叙事逐渐成为革命历史影像融合主流话语、凝聚社会共识、达成集体认同的一种重要的生产模式与创作趋势。该亚类型影视剧在叙事主题、人物塑造、影像风格等方面进行了青春化呈现和偶像化包装,并在类型化与反类型化的建构中创新求变,借助偶像力量和粉丝效应,使文本在受众层面实现了主流话语、大众文化以及消费主义的多元共融。然而,如何有机勾连青春与革命、平衡主流文化与市场逻辑、创新开拓类型边界,仍然是该亚类型革命文本必须进一步探索的创作命题。
In the recent years, the youth narrative has gradually become an important production mode and creation trend of the revolutionary historical image to integrate the mainstream discourse, building social consensus, and achieving collective identity.The sub-type film and television drama have their youth and idolization was of expressions in terms of narrative themes, character shaping, and image style, and they have been innovatively changed in the construction of types and anti-types. with the help of idol power and fan effect, at the audience level, the mainstream discourse, popular culture and consumerism are achieved. However, how to link youth and revolution, balance mainstream culture and market logic, and innovate and develop type boundaries is still the creation proposition that the subtype revolutionary texts must further explore.
In the recent years, the youth narrative has gradually become an important production mode and creation trend of the revolutionary historical image to integrate the mainstream discourse, building social consensus, and achieving collective identity.The sub-type film and television drama have their youth and idolization was of expressions in terms of narrative themes, character shaping, and image style, and they have been innovatively changed in the construction of types and anti-types. with the help of idol power and fan effect, at the audience level, the mainstream discourse, popular culture and consumerism are achieved. However, how to link youth and revolution, balance mainstream culture and market logic, and innovate and develop type boundaries is still the creation proposition that the subtype revolutionary texts must further explore.
引文
[1] 钱理群. “遗忘”背后的历史观与伦理观[J]. 读书, 1998(8):99-103.
[2] 谭苗, 鲁昱晖. 论改革开放与青春题材电影的时代叙事[J]. 当代电影, 2018(7):118-122.
[3] 龙念. 新世纪革命历史题材影视剧的爱情书写[J]. 现代传播(中国传媒大学学报), 2015(11):86-88.
[4] 孙柏.《无问西东》的青春叙事和历史书写[J]. 电影艺术, 2018(2):53-56.
[5] 胡占凡. 抓住机遇深化改革确保导向促进繁荣——在2004年全国电视剧题材规划会议上的讲话[J]. 中国电视, 2004(4):10-26.
[6] 约翰·菲斯克,祁阿红,张鲲.电视文化[M].北京:商务印书馆,2005.
[7] 利萨·泰勒, 吴靖, 黄佩. 媒介研究:文本机构与受众[M]. 北京:北京大学出版社, 2005.
[8] 杜晓红. 类型、反类型和类型融合——由《潜伏》看新世纪电视剧的叙事策略[J]. 中国电视, 2010(1):46-49.
[9] 陈龙.在媒介与大众文化之间:电视文化论[M].上海:学林出版社,2001.
[10] 约翰·菲斯克.理解大众文化[M].北京:中央编译出版社,2006.
[11] Alan Touraine. Critique of Modernity[M].New Jersey:Willey-Blackwell,1995.
[2] 谭苗, 鲁昱晖. 论改革开放与青春题材电影的时代叙事[J]. 当代电影, 2018(7):118-122.
[3] 龙念. 新世纪革命历史题材影视剧的爱情书写[J]. 现代传播(中国传媒大学学报), 2015(11):86-88.
[4] 孙柏.《无问西东》的青春叙事和历史书写[J]. 电影艺术, 2018(2):53-56.
[5] 胡占凡. 抓住机遇深化改革确保导向促进繁荣——在2004年全国电视剧题材规划会议上的讲话[J]. 中国电视, 2004(4):10-26.
[6] 约翰·菲斯克,祁阿红,张鲲.电视文化[M].北京:商务印书馆,2005.
[7] 利萨·泰勒, 吴靖, 黄佩. 媒介研究:文本机构与受众[M]. 北京:北京大学出版社, 2005.
[8] 杜晓红. 类型、反类型和类型融合——由《潜伏》看新世纪电视剧的叙事策略[J]. 中国电视, 2010(1):46-49.
[9] 陈龙.在媒介与大众文化之间:电视文化论[M].上海:学林出版社,2001.
[10] 约翰·菲斯克.理解大众文化[M].北京:中央编译出版社,2006.
[11] Alan Touraine. Critique of Modernity[M].New Jersey:Willey-Blackwell,1995.