2016年电视剧的生存语境与审美趣味  

The Existential Context and Aesthetic Features of TV Series in 2016

作　　者：许婧[1] Xu Jing

机构地区：[1]中国艺术研究院电影电视艺术研究所,北京100029

出　　处：《艺术探索》2017年第4期110-122,共13页Arts Exploration

基　　金：中国艺术研究院指定课题"2016年度中国电视艺术发展研究报告"

摘　　要：中国电视剧在2016年的发展一定程度上折射出世界各国的电视剧发展趋势。海外剧、网络剧和传统电视剧一同影响了今日中国电视受众的审美趣味,电视剧类型渐趋多元化。传统电视剧和网络剧适应分众化趋势的差异制作、专业力量的艺术提升和国家政策的宏观调控与引介,发展趋势良好。现实题材电视剧的题材和叙事方法有所创新。以行业为背景的电视剧背离行业剧的叙事走向,一定程度上显示了行业剧专业创作力量的薄弱。偶像谍战剧和IP剧盛行,重明星、轻剧作的现象突出。电视行业乱象频现、不重剧作质量的问题亟待解决。The development of Chinese TV series in 2016 features variety in themes. Nowadays, the aesthetic conception of Chinese TV audience is jointly influenced by overseas TV series, internet dramas as well as traditional TV series. Owing to the differentiated production in accordance with the audience-division trend, the artistic cultivation of the crew, and the bonus of state policies, there are good prospects for traditional TV series and internet dramas. The themes of realistic TV series, though innovative to some extent, shed light on the lack in creativity on the playwrights＇ part. Trendy dramas and IP dramas, though crudely made, are popular for their strong cast, which is not a new phenomenon of the industry and needed to be solved.

关 键 词：电视剧 分众化 审美趣味 生存语境 反思 

分 类 号：J901[艺术—电影电视艺术]