【作者】 朱群；

【导师】 蒲震元；

【作者基本信息】 中国传媒大学 ， 广播电视艺术学， 2009， 博士

【摘要】 本论文在辩证唯物主义与历史唯物主义的方法论指导下,采用审美文化视角对中国儿童电视剧的历史发展、艺术类型、美学追求、现状与未来展开全面研究,把儿童电视剧还原到具体的历史文化语境中来理解它的发展与更新。绪论部分探讨了电视艺术景观时代对儿童的影响,指出电视应当运用优秀电视艺术作品的美学特质和真善美合一的文化内涵,给儿童以精神境界的提升。此外,也对儿童电视剧在中国电视艺术中的地位以及现实问题进行了初步概括和分析。第一章对国产儿童电视剧发展的五个阶段做了历史归纳,将其划分为初创期、停滞期、复苏期、成长期以及探索上升期,并总结了中国儿童电视剧发展过程中的三种文化表征,分别从“政治意识”、“生活意识”和“童性意识”角度做了探讨和论述。第二章对儿童电视剧进行类型研究,分别总结了神话童话剧、儿童科幻剧、儿童生活剧、人物传记剧的类型特征,并对各自不同的审美文化内涵做了深入阐释。第三章从中国儿童电视剧的文本出发提炼出童趣审美、幻象审美、诗意审美、智性审美诸概念和儿童电视剧的审美追求,用以开掘儿童电视剧的知识范式,指出上述美学追求对陶冶儿童的审美情操、升华儿童的审美境界及对中国儿童电视剧创作的重要价值,努力寻求富有诗性和民族意味的儿童电视剧审美理念。第四章就电视产业发展大背景对于儿童电视剧产生的影响作出了分析。探索了儿童电视剧创作在数量提高的同时,精品率不高的原因。指出儿童电视剧创作中的形式化倾向、重现实而轻幻想的倾向以及创作队伍的缺失等问题,导致了儿童电视剧精品缺失的现状。余论认为,中国儿童电视剧应当努力追求儿童本位、贴近儿童心灵,同时借助电视艺术技巧和艺术手段,拓展儿童电视剧的审美空间。在立足本民族文化传统的同时,多方借鉴、积极融合,实现儿童电视剧艺术创新的目的。在寻求文化产业发展的同时,不忘坚守儿童电视剧这种大众艺术形态的审美化生存,努力推动儿童电视剧艺术的发展与繁荣。更多还原

【Abstract】 A complete research is given to the historical development, the style of artand the aesthetic pursuit of Children’s teleplay and also its status quo and futuredevelopment adopting the method of aesthetic cultural visual angle under theguidance of dialectical materialism and historical materialism with Children’steleplay reverted to concrete historical and cultural context to comprehend itsdevelopment and renewal.The part of introduction discusses the influence of Children’s teleplay onChinese children .TV should raise Children’s spiritual world with aestheticidiosyncrasy and truth-perfection-beauty-combined cultural connotation ofexcellent TV art productions. It is also pointed out in this part that the status quowhich is the status of Children’s teleplay in Chinese TV art world and make aconsumption and analysis.In Chapter One of the text, the five stages of Chinese Children’s teleplaydevelopment are carded and generalized according to historical materials, andthey are elementary period, lag phase, anabiosis period, growth period anddeveloping and ascending period. the cultural characters are generalized with thefollowing three parts: Political awareness, life awareness and childish awareness.In Chapter Two of the text, research is made about genres of Children’steleplay, the genre characteristics of fairy tale teleplay, enfant science fictionteleplay, children’s life teleplay and character biography teleplay are respectivelysummarized and deeply analyze.In Chapter Three of the text, some conception has been abstracted from chinachild’s teleplay including: children’s taste, idolum taste, poetry taste as well aswisdom taste so as to develop Children’s teleplay’s knowledge models, explainingChildren’s aesthetic imagination and fancy of teleplay art, edify Children’saesthetic sentiment and sublime Children’s aesthetic ambit and seek a kind of aesthetic conception of Children’s teleplay abounded with poetry and nationalodour.In Chapter Four of the text, active and passive influences which the bigbackground of TV industry development may bring to children teleplay arediscussed. The problem is pointed out that there are few excellent childrenteleplay productions in comparison to its increasing amount. The reason is that theformalizing inclination in children teleplay production, inclination of thinkingmore of reality and less of fancy as well as lack of good originators lead to theactuality of lack of excellent children’s teleplay.It is considered in the remaining part that Chinese children teleplay shouldtry its best to pursue Children’s standard and approach close to children’s heartand in the meantime to broaden children’s teleplay’s aesthetic space through thecreation of TV art skills and means, use various experiences for reference andperform an active amalgamation while basing ourselves upon our nationaltraditional culture and never forget to hold aesthetic modes as the baseline whileseeking the development of cultural industry and create the prosperities.更多还原