焦虑展示与精神抚慰—论康洪雷电视剧作品的精神价值诉求-anxiety display and spiritual comfort - on the spiritual value appeal of kang hongleis tv plays.docxVIP

摘要 摘要 I I 摘 要 目前电视剧创作中存在一个误区，即将电视剧的精神价值诉求与娱乐消费诉 求对立起来，认为二者非此即彼，把电视剧简单地理解为满足大众娱乐消费的商 品，无视大众深层的情感和精神需求，片面挖掘市场“卖点”，单纯追求感官刺 激，于是，粗鄙、媚俗、荒诞、轻浮之风充斥荧屏。 电视剧艺术是人的精神世界和情感世界的一种显现，是人的主题的一种反 映。作为人的主体创造活动的重要构成部分，电视剧艺术要对人的前途、命运和 生存境况怀有一种关注之情，即要注重电视剧艺术的人文精神与文化品位的构 建。本文首先指出，作为具有创作者主体意识、能全方位支配创作的导演，康洪 雷在电视剧的创作过程中着力挖掘精神价值诉求，将精神价值诉求与娱乐消费诉 求统一起来；然后分析康洪雷想通过电视剧表达怎样的 “焦虑”体认，即梳理 出“康洪雷剧”的精神价值支点；最后通过具体的作品说明“康洪雷剧”是如何 展示“焦虑”的，又是如何缓解“焦虑”的，即“康洪雷剧”的精神价值诉求是 如何体现的。本文通过分析得出了这样的结论，即对电视剧创作者和生产者来说， 对受众心理的把握是其获取市场的强有力手段，电视剧的精神价值诉求和娱乐消 费市场不是“二元对立”的，而是内在统一的。这一结论也是本文的价值所在， 不仅可以对净化电视剧市场提供些许启示， 而且为电视剧的良性发展提供了一 条建设性的道路。 关键词：康洪雷，电视剧，焦虑，抚慰 Abstract Abstract II II Abstract At present, there is a misunderstanding that the TV play is only the commodity which is satisfied with the demands of audience Entertainment expense and the demands of Energetic value is opposited to the demands of Entertainment expense. Some TV play makers neglect the in-depth emotion and Energetic demands of the Populace, playing one-sided emphasis on the “selling points” in the market, pursuing sensory stimulation simply, which makes the screen full of poor-quality products. TV play is the performance of Spiritual and Emotional World of people and the reflection of human nature. We ought to express our concern to the fate and survival situation by TV plays, that is, paying attention to humanism cultural taste. To begin with, this article puts forward that Kang Honglei, as a director who has self-awareness of the creator and control of the working process, has been making the good coordination between Energetic demands and Entertainment demands. In addition, it researches the spiritual values fulcrum about “Kang Hongleis Plays” by the analysis of what kind of feeling he wants to deliver to us through his work of art. Finally, it studies on the demonstration that how did “Kang Hongleis Plays” show and ease the “anxiety” of the people by his works. So we can draw the conclusion that grasping audience mentality is a powerful means of participat