【作者】 赵彤；

【导师】 章柏青；

【作者基本信息】 中国艺术研究院 ， 电影学， 2008， 博士

【摘要】 当代中国影视创作中的帝王形象,伴随着当代中国政治经济文化的发展与转型,经历了由隐到显,从边缘到核心,从倍遭贬抑到屡受赞颂的发展过程。上世纪90年代后期,“帝王戏”命名的定型,不仅意味着当代中国影视创作中历史题材创作的分化,更显示出历史阐释与历史视野的转移。帝王形象在当代中国影视创作中发生的形变,是当代中国意识形态变动的结果与反映。在传统的社会以主义理论、苏联社会主义政治经模式和阶级斗争观念主导下,在人民史观的话语策略下,“十七年”中国电影以“革命叙事”为主流,专注于对作为最高封建统治者的帝王的阶级批判。中国历史上,特别是近代史上王朝腐朽阶段的帝王成为这一时期常规电影创作中主要的帝王形象。但在若干戏曲影片中,帝王形象的非阶级面貌还是所保留。在强化阶极斗争话语的“文革”时期,帝王形象虽然全面退出了银幕,但在政治运动中,特别是“儒法斗争”背景下,中国历史上的所谓“法家帝王”得到了充分的肯定。毛泽东的个人因素也对赞颂秦皇、汉武之类的帝王,起到了重要的诱导作用。进入“新时期”,当代中国政治文化从“革命”转型为“发展”,阶级斗争思维淡化,民族、国家思维开始勃发。同时大众文化兴起,当代中国影视的娱乐功能渐显,加之港台影视作品引入的影响,使这一时期中国电影和电视剧塑造的帝王形象褒贬兼具、色彩斑斓。进入90年代中期,随着社会主义市场经济体制的全面确立,国际共产主义运动和意识形态遭受挫折,民族主义思潮、保守主义兴起,中国影视塑造的帝王形象显示出主导意识形态话语、部分文化精英话语与大众话语在民族国家利益上的合流,“盛世帝王”形象成为创作的主流。当代中国影视创作中帝王形象的变化,反映了六十年来我们对帝王形象的想象关系的变化。他们不仅深深地烙印着当代中国基于民族自决对于强大国家的渴望,对于未来民族道路的设想,同时也是千百年来中国文化中“伟人情结”与当代“古典主义”写作结合的产物。在经过建国后二十多年的蛰伏后,帝王形象在世纪转折前后,成为当代中国影视创作中的新的范型。更多还原

【Abstract】 The image of emperor in the contemporary productions of film and TV experienced a development process from latent to obvious, from marginal to central and from being derogated to praised. In the late 1990’s, "Emperor Drama" was confirm as a genre. It not only meant the subdivision of the contemporary Chinese history productions, but also revealed the shift of history interpretation and vision.The change of the expression form of emperor’s image in the contemporary productions of film and TV was the result and reflection of contemporary Chinese ideology. Leaded by the traditional Marxist socialistic theory, Russia socialistic political and economic model and Class struggle concept, Chinese Seventeen-Year Cinema took "Revolutionary Narration" as its main character and focused on the gerentocratic feudalism emperor class.The emperors in the Chinese history, especially the corruptive dynast in the modem history, became the main emperor image in the productions of film and TV of this period. But in some traditional opera films, the non-class dimension of emperor was remained. In the Cultural Revolution period which emphasized the class struggle, although the emperor image disappeared from the screen, the "legist emperor" gained approval under the background of the "Confucian-Legalist Struggle". The personal factors of Mao Zedong played a derivational role in glorifying Emperor Qin Shi Huang and Emperor Wu in Han Dynasty.When it turned into "New Era", contemporary Chinese political cultural theme turned from "revolution" to "development". People’s ideology idea about class struggle faded and national consciousness began to thrive. At the same time, Popular Culture prospered and the recreational function of Chinese film and TV came to emerge. With the film and TV productions of Hongkong and Taiwan introduced into the mainland of china, the emperor images in Chinese film and TV productions were praised as well as blamed. In the middle of 1990’s, Socialist Market Economy system was established. Meanwhile the international communism movement and its ideology suffered from frustrations. As the result, the image of emperor in contemporary productions of film and TV presented such a state that the dominant ideology discourse, cultural essence discourse and popular culture discourse converged on the national interest. The emperor image of Flourishing Age became the mainstream of the productions.The change of emperor image in the contemporary Chinese productions of film and TV reflected the change of our imagination of the emperor over the sixty years, which branded our aspiration for a powerful country and the plan for the developmental road of our nation. Meanwhile, it was also the outcome of the combination of "Great Man Complex" in the Chinese culture and contemporary "Classicalism Writing" over hundreds of years. After The People’s Republic of China established, the image of emperor in Chinese productions of film and TV had hibernated for more than twenty years. However, At the turn of the century, it became a new genre of the contemporary film and TV productions.更多还原