论文部分内容阅读
侯鸿亮带领的正午阳光制作团队,在《伪装者》《琅琊榜》之后,再次制造出了《欢乐颂》这样一部话题之作。不同于前者在民国风云或架空历史中讲述情怀,《欢乐颂》从题材到形式,都充满了当代性与现实感,就连它成为话题的方式,都彰显着中国大众文化市场正在悄然发生转移:剧集的卫视收视率排名在第3~10名间游荡,而网络播放量却高居榜首,微博话题热度更是居高不下。《欢乐颂》走红的方式,标定了它的受众大多是活跃于网络空间的青年一代,他们对于社会问题与现实生活,有着更为敏感和直接的反应。
Hou Hongliang led noon sunshine production team, in the “pretender” “Langya list”, once again created a “happy ode” such a topic for. Different from the former tells the feelings in the history of the Republic of China or overhead, “happy ode” from the theme to the form, are full of contemporary and realistic, and even its way to become a topic, all highlights the Chinese mass market is quietly shifting : Episode TV ratings ranked No. 3 to 10 between the wandering, but the network play topped the list, microblogging topic heat is high. “Ode to Joy” is a popular way of calibrating that most of its audience are young people who are active in cyberspace. They are more sensitive and direct response to social issues and real life.