【作者】 王蕾；

【导师】 吉保邦； 常庆；

【作者基本信息】 山东师范大学 ， 新闻学， 2010， 硕士

【摘要】 20世纪90年代,我国电视媒体开始在电视上“讲述老百姓自己的故事”,近年来,故事化的手法已广泛应用于各类型电视栏目的制作。可是,电视界并未仅仅停留于将其作为表现手法的层面,从2005年《传奇故事》开播开始,一种专门讲故事的节目形态开始出现,主持人在节目中叙述、评论并串联整个故事。在电视镜头面前,故事的跳跃性、情节的张力被凸显出来,悬念和紧张气氛被制造出来并呈现给电视观众。2007年9月,国家广电总局出台一系列措施对选秀类电视栏目做出限制,国内各省级卫视频道纷纷开始为新一轮竞争摩拳擦掌,“讲故事”成了继“民生新闻”和“选秀”相继火热之后的电视媒体新的赢利空间。由此至今,数十种故事类栏目在中央电视台、省级卫视以及一些地方台呈现出群雄逐鹿的竞争态势。故事类电视栏目所讲述的故事来源于新闻报道,因此它们本质上具有新闻真实性。这是本研究立论的一个重要前提;大众传播媒介的发展丰富了叙事文本的类型,故事类电视栏目可以被看作是一种新的叙事文本形态,这是本研究的一个重要假设。从目前来看,故事类栏目已经逐渐成形,并成长为一档较为成熟的电视栏目。它拥有大量的收视人群,培养了固定的收视期待,同时也形成了自己的表现形式、叙事结构和叙事模式。“人是讲故事的动物”,从故事的传播过程来看,讲故事和听故事的过程也倚赖着人与人之间的交流,信息、情感、价值观都在人际间传播互动。大众传播媒介(特别是电视)的发展放大了这一过程。因此,故事类栏目的叙事传播也不可避免地与电视的传播特性相辅相成。故事类栏目越来越多地采用“平衡—不平衡—新的平衡”的叙事结构,以层出不穷的矛盾制造的悬念为主线来结构故事,制造收视兴奋点。悬念在节目开始时便被营造,故事类栏目常常采用先出画面同期剪接的短片,再出现主持人的方式铺设悬念。在故事的叙述过程中,故事类栏目结合电视传播手段,熟练运用蒙太奇的画面剪接技巧和声音音响技术,对故事的时间和空间进行排列组合,并掌控着故事的叙事节奏。它们往往与故事中一些小悬念的出现相关,起到铺垫故事情节,使观众保持收视热度的作用,运用概要、省略、场景、延缓和停顿来掌控叙事节奏。此外,故事类栏目所制作的各期节目作为叙事文本的一种,其叙述过程符合叙事的传播过程,即从真实作者和隐含作者到叙述者和叙述接受者再到隐含读者和真实读者的叙事传播过程。此外,故事类电视栏目运用和表现具备传播优势的叙事模式时,也表现出了一些问题,比如,真实性有时让位于叙事技巧而缺失,故事类栏目所讲述的故事大多改编自其他台的新闻节目,栏目本身自采节目数量有限。本研究在讲什么故事、怎样讲故事、栏目包装和与观众互动等方面提出了一些具有一定指导意义的建议。本研究将以2009年7-9月份播出的《传奇故事》、《王刚讲故事》和《说事拉理》为主要研究对象,从故事类栏目的叙事内容入手,结合叙事理论分析其叙事结构和叙事传播模式,提出未来发展路径。今后,故事类栏目在讲什么故事方面可以减少同类栏目播过的同样题材的数量,增加自采节目数量;在保持新闻真实的同时追求时效性,慎用情景再现;在怎样讲故事方面,树立并维护主持人的个性魅力;用“心”实现栏目与观众的互动。更多还原

【Abstract】 Television in China began telling stories of ordinary people in 1990s. In recent years, story-telling technique has been widely used in producing many kinds of TV programs. However, producers did not remain in the stage of labeling the story-telling technique as expression method. The TV program genre specializing in telling stories has started since 2005. Anchors narrate, connect and comment on the entire story. The leaps of story and the tension of plot have been emphasized. Suspension and tense atmosphere have been produced and exposed for the audience in front of television. Because of the restrictions on talent shows, story-telling became the new space of gaining profits. Nowadays story-telling TV programs compete fiercely with each other on national, provincial and other local TV stations.In light of current situation, story-telling TV programs have shaped their own narrative structure and model and have grown to be one mature genre of television, which attract a great number of audiences and cultivate their stable expectations of watching. Humans are story-telling animals. In the transmission process of stories, telling and listening to stories depend on the exchange among different people. And information, emotions and values also communicate and interact between people. The development of mass media, especially television, has enlarged such process. Thus, it is unavoidable that the narrative communication of story-telling program interconnects with the communication characteristics of television.Story-telling programs adopt the narrative structure of“equilibrium to disequilibrium to new equilibrium”, and construct story by means of suspense produced by endless contradictions. Suspense will be built at the beginning of programs. In the progress of story, these programs unite the communication methods of television, utilize montage and audio editing techniques to reorganize the time and space of stories, and control narrative rhythm by means of summary, ellipse, scene, stretch and pause. In addition, as the narrative text, the narration process of programs conform to the narration communication process—from real author and implied author to narrator and narratee to implied reader and real reader.This article selects the programs like Legendary Story, Wang Gang Tells Story and Telling and Speaking broadcast from July to September 2009 as sample. It starts with the narrative content of Programs, combines narrative theory to analyze their narrative structure and narrative communication pattern, and raises the approaches of future development. In future, Programs should increase the number of programs completely produced by their own and pursue the timeliness of news stories. In the end, Programs should also establish and safeguard the charisma of anchors and interact with audience with heart.更多还原