论电视剧《刘老根3》的叙事风格  

Discussion on Narration Style on TV Series Liu Lao Gen 3

作　　者：张怀强 李倩[1] Zhang Huaiqing;Li Qian(Open University of Yunnan,Kunming 6505001)

机构地区：[1]武汉大学,武汉430072

出　　处：《新疆艺术学院学报》2020年第3期107-111,共5页Journal of Xinjiang Arts University

基　　金：贵州省理论创新课题(联合课题)“民俗学视域下的中国家庭伦理电视剧研究”(GZLCLH-2020-011)的阶段性成果。

摘　　要：2020年春,赵本山自导自演的电视剧《刘老根3》播出。本剧深谙观众期待与影视叙事原理,通过不断的戏剧冲突与悬念营造让观众乐享其中;其次,东北浓厚的民俗文化深深浸染了影视叙事,影视与二人转两种艺术形式也找到了彼此融合的现代化呈现方式,独特的民俗魅力因而再次赢得了观众的青睐;最后,本剧还有着非常丰富的现实指涉,主要表现在私人故事启发与国家主流文化宣扬两方面,这些现实指涉令叙事意涵及民俗文化表达,得到了拓展和提升。本剧的形式与内容,处处显示着冲撞与融合,体现出现实的矛盾质感,具备相当的审美价值。In the spring of 2020,Liu Lao Gen 3,a TV series directed by Zhao Benshan,was broadcast.This play is well versed in the audience's expectation and the narrative principle of film and television,and makes the audience enjoy it through constant dramatic conflicts and suspenses.Secondly,the strong folk culture of northeast China is deeply influenced by the film and television narration,and the two art forms of film and television and Dance Opera have also found a modern presentation mode that integrates with each other.Therefore,the unique folk charm has won the favor of the audience again.Finally,the play also has a lot of realistic references,which are mainly reflected in the inspiration of private stories and the promotion of national mainstream culture.These realistic references have expanded and improved the narrative implication and the expression of folk culture.The form and content of the play show collision and fusion everywhere,reflecting the contradictory texture of reality,with considerable aesthetic value.

关 键 词：赵本山《刘老根3》 影视叙事 民俗文化 现实指涉 

分 类 号：J905[艺术—电影电视艺术]