关于新时期“三农”影视剧的思考——兼论赵本山及其农村剧  

Reflections on New-era's Movies and TV Series about Agriculture Countryside and Peasants——On Zhao Benshan and His Movies about Countryside

作　　者：胡和平[1] 肖丽君[2] 

机构地区：[1]湖南工业大学文学与新闻传播学院,湖南株洲412008 [2]湖南工业大学外国语学院,湖南株洲412008

出　　处：《新疆艺术学院学报》2013年第1期55-59,共5页Journal of Xinjiang Arts University

基　　金：教育部人文社会科学规划基金项目:影视文化中的社会主义核心价值建构(10YJA760021)阶段性成果之一

摘　　要：新世纪以来,我国涉农电影电视剧不但数量少,质量也不高。其表现手法多类型化、喜剧化,赵本山的东北农村影视剧是其突出代表。这类电视剧主要靠情节的荒诞、可笑的丑角、小品化的叙事来达到喜剧效果。农民在中国历史上是革命与建设的主力军,中国传统文化里的农民也是悲剧英雄。农民的历史贡献与当下影视艺术的身份定位的悖论,主要有两个方面的原因:一是大众狂欢状态下的农民戏谑;二是工业化对艺术本体的冲击。Since the twenty-first century, movies and TV series concerning agriculture, countryside and peasants, have neither been increased in number nor improved in quality,and the expressive means of which are full of stereotypes and often with a comic tendency, Zhao Benshan＇s movies and TV series shot in Chinese north-eastern rural areas being the outstanding representative. Such TV series arrive at their comic results with bizarre plot, funny clowns and minute narrative. In Chinese history peasants were the main forces of revolution and construction and in traditional Chinese culture peasants were tragic heroes. The contributions made by the peasants and their status quo description in contemporary movie and TV artistic works form a paradox, which is partly due to the peasants＇ dramatic carnival and partly due to the impact done to the art itself by industrialization.

关 键 词：三农 影视剧 思考 

分 类 号：J905[艺术—电影电视艺术]