中美情景喜劇比較研究 (2)

中美情景喜劇比較研究

目    錄

第一章總 論····························································································3

1.1論文摘要·····························································································3

1.2論文目的·····························································································3

1.3論文意義·····························································································3

第二章情景喜劇的定義···············································································4

第三章美國情景喜劇產生和發展····································································4

3.1廣播情景喜劇······················································································4

3.2電視情景喜劇······················································································4

第四章中國情景喜劇引進和發展···································································5

4.1中國情景喜劇雛形階段···········································································5

4.2中國情景喜劇誕生階段···········································································5

4.3中國情景喜劇探索階段···········································································5

4.4中國情景喜劇發展階段···········································································6

4.5中國情景喜劇多元階段···········································································6

第五章中美情景喜劇共通之處與不同之處························································7

5.1敘事內容與功能比較··············································································7

5.2文化背景及具體表現比較·········································································8

5.3人物性格及幽默元素比較·········································································8

第六章結語-中國情景喜劇本土化并基于此長遠發展下去·····································9

6.1借鑒美國經驗同時本土化理解及發展···························································9

6.2本土觀眾需要本土化劇本·········································································10

6.3大膽嘗試本土化情景喜劇類型創作······························································10

參考文獻···························································································12

第一章   總 論

1.1論文摘要：

1992年的11月5日，導演英達與作家王朔第1次開始討論我愛我家的有關創作，這一天后來也被確定為中國大陸情景喜劇的誕生之日。英達模仿國外的情景喜劇，并“結合中國的具體國情”，搞出來的開先河之作，也成為了中國情景喜劇中無可超越的經典。

我們一直都說情景喜劇是藝術舶來品，一直以來也都學習借鑒美國情景喜劇的優秀經驗，但是中華民族數千年的民族審美心理，使得我們沒有辦法繼續學習美國情景喜劇幽默語言，敘事模式。我們只有本土化去理解和發展中國情景喜劇，才能真正讓情景喜劇在中國扎下深根，促進他積極健康的發展下去。情景喜劇在題材上有自身的獨特性，我們要做的不能是低級和平面的娛樂，在保持諷刺意識和批判精神的前提下，真正引起觀眾的共鳴。在當下