导　　师： 王敏

学科专业： 050407

授予学位： 硕士

作　　者： ;

机构地区： 东北师范大学

摘　　要： 媒介形式的不断发展，其对人们生活的影响也在不断的扩大。电视剧作为传播媒介中不可缺少的重要组成部分，被广大观众接受和认可。香港作为曾经的华语电视剧最大的产地，其电视剧的生产水平和传播范围不容小视。香港电视剧不仅传播香港精神，还传递着东方的意识形态和思维方式。港剧的传播并不仅仅局限于香港本土，在内地、新加坡、马来西亚都创造了不错的收视成绩。 在香港电视剧的众多类型中，香港家族剧画上了浓重的一笔，并形成了自己固有的一套叙事模式：一是上下好几代,持续时间长、家族人员多；二是家族成员关系复杂多变、亲情友情爱情交织纵横；三是“商战+警匪”的故事格局；四是“善恶终有报”的民族传统文化心理，再加上“大段落上环环相扣，小段落又继承了好莱坞三分钟一个小高潮、十分钟一个大高潮”的叙事风格和套路，让无数观众甘于每天花时间守在电视机旁，去体味豪门恩怨，去慨叹人生沉浮。 香港家族剧取得了不俗成绩的同时，其自身所暴露出来的问题也让人担忧。香港家族剧中的女性形象所表现出的模式化、规范化的建构形式，使女性在媒介中形成了感性、弱者、没有主见等刻板印象。波伏娃提出，女性并非生来如此，女性是被男权中心的社会文化锻造成现在的样子的。女性形象单一刻板的传播，对于电视受众产生了深远的影响。 本文选取2006年香港家族剧转型后的电视剧为研究对象，重点分析《溏心风暴》、《溏心风暴之家好月圆》、《珠光宝气》、《巾帼枭雄》几部家族剧中的女性形象，并将其划分为三个主要的类型：被传统抑制的妻母形象、被“雄化”的斗争女性形象、以及被“高贵化”了的享乐女性形象。本文将会对上述家族剧中的女性形象详细分析，运用符号学和传播学理论研究其性别建构，提出特定类型女性形象在设计安排上的意义和目的，以及该类型形象如此构建存在的问题，并从传播介质、接受群体、创作团队及电视剧本身出发，以独特视角提出文化传播领域中家族剧女性形象的建构模式。 The forms of media are developing day by day, so its influence on people's life isexpanding constantly. Teleplays as the indispensable important component of media, is themajority of the audience acceptance and recognition.Hongkong is once known as the largestproducing area of the Chinese teleplays, its ability of teleplays producting and its propagationrange can not be overlooked. Hongkong teleplays not only spread the spirit of Hongkong, butalso convey Oriental ideology and way of thinking. Hongkong teleplays＇transmission is notrestricted to the Hongkong native, they have created a good performance ratings in mainlandChina, Singapore, Malaysia, too. In the masses of Hongkong teleplays, HongKong familydrama left a heavy track and formed a set of its own narrative mode inherently:1.The storiesusually span over several generations and last for a long time,they have masses of familymembers and the complex relations inside;2.The relation among the family members iscomplex and changeful, love,family love and friendship interlace broadly;3.The "commercialwar+cop" story pattern;4.Traditional national culture psychology:"Good and evil have theirown rewards". And the " big paragraphs linking with each other, small paragraphs alsocontain small or big upsurges just like the Hollywood style" narrative style and routine makethe audience be willing to spend time to sit in front of the television, to appreciate the feelingsin the famous and rich family, to sigh for the caprice of life. Hongkong family drama have achieved good results, at the same time, the exposedproblems are also causes for concern. In Hongkong family drama, female images display asstereotyped and standardized, this construction form makes an impress that women areemotional, weak and do not have their own consideration. Beauvoir once put forward thatwomen were not born that way, they were distorted by the male-centered social culture intowhat it is today. The simplex and stereotype images of women spread to the televisionaudience, then it makes far-reaching effect among them. This paper will select some Hongkong family dramas made since2006,when the familydrama transformed their styles, as the object of study, and focus on the analysis of the femaleimages in ,,,.They will be divided into3types: mothers and wives suppressed by tradition, women whoare "set as masculine" and struggle for life, women who are "set as noble" and believe inhedonism. This paper will analyze the female images in the family dramas aforementioned indetail, and study the construction of gender by semiology and communication theory, putforward that what meaning and purpose it want to express by setting the specific types offemale images, and the existing problems in this construction of the image styles, at the same time, it will be based on the transmission media, the audience, the creating team and thedrama itself, and point out a construction mode of female images in the family drama inculture communication field in an unique view.

关 键 词： 香港家族剧 女性形象 形象建构 符号固化 传播缺陷

分 类 号： [J905]

领　　域： [艺术]