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电视剧在中国是个年轻的艺术样式,她依托于文学的丰厚土壤,取惠于技术的日新月异,成为诗词、戏曲、小说、电影之后的新的艺术本体。这便从开始就注定了其艺术和技术的双重特性,而这种双重特性使电视剧创作呈现出两种样式:一是文学性电视剧,强调情节的完整和故事性,注重文学性因素(比如台词)在剧目中的作用,而把技术的介入作为文学性因素的辅助,只是为了更直观、生动地讲述故事;二是电视性电视剧,强调电视的本体特征,技术性因素以独立的姿态构成叙事的一个层面,与文学性因素平行地共同完成主题的建构。观张绍林的电视剧,显然属于后者,他比较注意画面的美学构成和在电视剧叙事中的作用,自觉追求意象性表现
TV drama is a young art style in China. Relying on the abundant soil of literature, she takes advantage of the rapid change of technology and becomes the new art body after poetry, opera, novel and movie. From the very beginning, it dubbed the dual characteristics of its art and technology, and this duality brought two styles of drama: first, the literary drama emphasizes the integrity and story of the plot, focusing on literary factors (such as lines ) Plays a role in the repertoire, and the intervention of technology as an auxiliary of literary factors, just to be more intuitive and vivid to tell the story; second is television drama, emphasizing the ontological characteristics of television, technical factors constitute an independent gesture of narrative One level, together with literary factors parallel to complete the construction of the theme. Zhang Shaolin’s TV series apparently belonged to the latter. He paid more attention to the aesthetic composition of the screen and its role in the narrative of TV series, consciously pursuing the image performance