德国当代影视作品中的中国叙事研究——《案发现场》50年涉华电视系列剧分析  

The Narrative Frames about China on German Television: An Analysis Based on the Crime Series Tatort in Five Decades

作　　者：周海霞[1] ZHOU Hai-xia

机构地区：[1]北京外国语大学德语学院

出　　处：《天津外国语大学学报》2023年第3期98-110,113,114,共15页Journal of Tianjin Foreign Studies University

基　　金：教育部人文社会科学研究一般项目“当代德国影视中的华人影像和中国叙事研究”(19YJCZH271);中央高校基本科研业务费项目(2019JJ002)。

摘　　要：罪案剧《案发现场》在德国具有高度的影响力,有“文化风尚剧”之称。其在50年左右的时间里制作播映的涉华电视系列剧可谓德国社会关于中国和华人的代表性集体记忆,反映、参与并影响德国公众关于中国和华人的集体认知与行为模式。对于涉华电视系列剧时间分布、涉华元素和议题、涉华叙事逻辑及叙事发展的分析显示,《案发现场》的涉华电视系列剧中存在稳定的、突出的中国叙事框架,即“罪与恶”的中国经济叙事框架、关于华人社群的“平行社会”叙事框架、关于中国文化传播的异域特质叙事框架。The crime television series Tatort is a highly influential program in Germany and has achieved cult status.The China-related and Chinese-related episodes of Tatort produced over the past fifty years can be considered as part of German collective memories of China and Chinese.They reflect,participate and have a great impact on the attitudes and behaviors of the general public in Germany towards China and Chinese.This paper analyzes the themes,the time span and the narrative development of the China-related and Chinese-related episodes as well as the connection between Chinese elements or characters and the crime case,and reveals that there are three stable and obvious narrative frames about China in Tatort,i.e.a narrative frame based on crime and evil relating to China’s economy,a narrative frame about parallel societies of Chinese communities in Germany and an exotic narrative frame about the transmission of Chinese culture.

关 键 词：《案发现场》 涉华电视系列剧 中国叙事框架 华人 

分 类 号：I106.35[文学—世界文学]