大陸諜戰(zhàn)劇反面人物塑造研究

1、 I 學(xué)校代碼：10270 分類號：J90 學(xué)號：122200223 碩 士 學(xué) 位 論 文 大陸諜戰(zhàn)劇反面人物塑造研究 學(xué) 院 ： 人 文 與 傳 播 學(xué) 院 專 業(yè) ： 戲 劇 與 影 視 學(xué) 研 究 方 向 ： 廣 播 電 視 編 導(dǎo) 研究生姓名 ： 劉業(yè)成 指 導(dǎo) 教 師 ： 顧 偉 麗 完 成 日 期 ： 2 0

2、 1 5 年 4 月 III Abstract This paper deals with “the negative characters in spy drama in the mainland of China”. Since the first spy drama in the mainland of China premiered in 1989, the development phrase will be divided

3、 into three stages, namely, the infancy stage, the thriving developing stage and the deep exploration stage, taking the history of the spy drama in the mainland of China as the main discussing sequence of this paper. It

4、also concludes, summarizes and analyzes the building of negative characters in spy drama in the mainland of China. The first chapter inductively analyzes the development process from anti-­‐espionage elements to the

5、 spy drama to define the scope of“spy drama in the mainland of China” and to clarify vertically the rheological investigations of “the negative characters” in the following paper. The second chapter elucidates the negati

6、ve characters in spy drama in the mainland of China with specific examples. “How to distinguish positive characters and negative ones?”and “How to tell good men from evil ones?”are the measuring criteria of negative char

7、acters. This chapter defines the negative character on the basis of ideology in the spy drama in the mainland of China: in the plot that both side of the friend and foe try to steal information from each other, those who

8、 are antagonistic to the protagonist (members of the Communist Party which fight against or lurk within the Nationalist Party), hinder the development or the fixed tasks of the protagonists and are inconsistent with the

9、idea, attitude and belief of the protagonists are defined as the negative characters. In terms of the ideology and political complexion, most of the negative characters are those parties who are against the Communist Int

10、ernational or its position and those people who are against the new China. The third chapter focuses on the rheological portraits of the negative characters and probes into the evolution factors as well as summarizes the

11、 four common negative characters depicted in the spy drama. With the help of some technical books on dramas and referring to the classic cases , the fourth chapter probes into how to make the negative character more life

12、-­‐like from the aspects of shaping the appearance, personality, character relation, growth track and some other aspects. The thesis strives to reach a comparatively theoretical conclusion and a feasibly practical m