性别与权力:华语清宫剧制播生态的一个考察视角  

Gender and Power: An Investigation on the Ecology of Qing Dynasty Palace Dramas

作　　者：阎方正 王方好 YAN Fangzheng;WANG Fanghao(School of Chinese Language and Literature, South China Normal University, Guangzhou 510006, China;Arts school, Anhui University, Hefei 230601, China)

机构地区：[1]华南师范大学文学院,广东广州510006 [2]安徽大学艺术学院,安徽合肥230601

出　　处：《东莞理工学院学报》2019年第6期77-84,共8页Journal of Dongguan University of Technology

摘　　要：作为当代审美文化具体形态的华语清宫剧,近些年总是周期性地引发社会热烈讨论。通过对此类剧集若干个案的观察,可以发现从创作制度、叙事内容到传播接受都隐喻涉及性别维度下的权力关系。表面来看,清宫剧是一场利用现代影视技术制造出的迎合当代审美趣味的娱乐游戏,历史的崇高感逐渐支离破碎,直至完全消解。“游戏”表象的背后是中国当代影视文化生态的真实反映,男性权力主导华语清宫剧制播环节的同时,女性权力对类型剧创作也产生着相当程度的影响,从而揭示出性别与权力对中国当代社会的深刻作用。As a concrete form of contemporary aesthetic culture,the Chinese Palace Dramas has been arousing heated social discussion periodically in recent years.Through the observation of several cases of this kind of drama,it can be found that the creation system,narrative content and communication and acceptance are all metaphorically involved in the power relationship under the gender dimension.On the surface,Qing Dynasty palace drama is an entertainment game that is made by using modern film and television technology to cater to contemporary aesthetic tastes.The sublime sense of history is gradually fragmented until it is completely eliminated.Behind the“game”image is the true reflection of the contemporary Chinese film and television culture ecology.While male power dominates the production and broadcasting of Chinese Qing Dynasty palace drama,female power also has a considerable impact on the creation of type drama,thus revealing the profound role of gender and power in Chinese contemporary society.

关 键 词：清宫剧 权力关系 性别批评 审美文化 影视研究 

分 类 号：J905[艺术—电影电视艺术]