从《梦华录》看新世纪以来中国古装电视剧剧情设计的游戏化审美倾向  

The Aesthetic Tendency of Gamification in Plot Design Of Chinese Ancient Costume TV Dramas Since the New Century:A Case Study of Meng-hua’s Record

作　　者：余权 YU Quan(School of Media and Exhibition,Fujian Business School,Fuzhou,350012,China)

机构地区：[1]福建商学院传媒与会展学院,福建福州350012

出　　处：《福建江夏学院学报》2023年第1期81-89,共9页Journal of Fujian Jiangxia University

基　　金：福建江夏学院国家基金培育项目“改革开放以来央视纪录片与中华文化传承研究(1978—2020)”(JXS2020001)。

摘　　要：除剧情严谨、内容新颖外,电视剧还随着时代的发展增设相应特色。新世纪以来,中国古装电视剧剧情设计逐渐呈现游戏化审美倾向。《梦华录》在情节上增加了以游戏化的娱乐效果为主要诉求的新内涵,具体表现为游戏性、竞技性、综艺性、间离性四种特性;在观众的观赏效果上,客观上产生了趣味感、胜负感、狂欢感、仪式感的娱乐效果。当前,有必要对这种游戏化审美倾向进行学术性反思,即剧情设计的游戏化应当源于一定的实践基础,并且创作中要适度把握影视剧整体的艺术水准和创作要求。In addition to the rigorous plot and novel content,TV dramas also add corresponding features with the development of the times.Since the new century,the plot design of Chinese ancient costume TV dramas has gradually presented an aesthetic tendency of gamification.In the plot of Meng-hua’s Record,a new connotation with gamified entertainment effect is added as the main appeal,which is manifested in four aspects:gameplay,competition,variety and alienation.In terms of the audience’s viewing effect,such entertainment effects as sense of fun,victory,carnival and ceremony are produced.It is necessary to conduct academic reflection on this aesthetic tendency of gamification,that is,the gamification of plot design should originate from a certain practical basis,and the overall artistic level and creative requirements of film and television plays should be appropriately grasped in the creation.

关 键 词：中国古装电视剧 剧情设计 游戏化 《梦华录》 

分 类 号：J905[艺术—电影电视艺术]