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2015年底,郑晓龙的古装大戏《芈月传》再次引起热烈关注。前作《甄嬛传》堪称宫斗剧类型的巅峰之作,新作《芈月传》题材类似,但在艺术处理上,创作者并未复制之前成功的宫斗剧类型模式,意图超越后宫的宫斗格局,描绘动荡的时代背景之下芈月这位女性的成长、人生命运与家国传奇。本文试图从类型边界与互文性、身份及国族想象等方面阐释《芈月传》中的形象构建及热播背后的文化动因。
By the end of 2015, Zheng Xiaolong’s costume drama “Han Yue Biography” once again aroused great concern. The former “Zhen Huan Chuan” is the pinnacle of the genre of Gongsou. The theme of the new book, “Chuan Yue Chuan”, is similar, but in the artistic treatment, the creators did not duplicate the successful model of the genre before the palace, Fighting pattern, depicting the background of turmoil in this month Sumatra the growth of women, life and family legend. This paper tries to explain the image construction in “Yu Yue Biography” and the cultural motivation behind the hot film from the perspective of type boundary, intertextuality, identity and national imagination.