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| January 2012 |
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19 |
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| 專輯論文Special Issue Articles |
| 下崗女工︑苦情戲及中國電視劇的 情感空間 |
| Melodrama of Change: Women, Bitter Emotions and the Affective Space in Chinese TV Drama |
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(2366)
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| 作者 |
孔書玉 |
| Author |
Shuyu KONG |
| 關鍵詞 |
家庭情節劇、下崗女工、社會悲情、情感形態、情感認同、 苦情戲 |
| Keywords |
family melodrama, laid-off women workers, social emotion of bitterness, affect, emotional identification, Kuqing xi |
| 摘要 |
目前對大陸電視劇研究中，多強調電視劇如何表達官方意識形態和認知功能，但對電視劇的表意功能以及情感空間卻很少討論。這樣就不能令人信服地說明為甚麼電視劇成為大眾認同的敍述形式，也不能對電視劇語義產生的機制給出令人滿意的解釋。本文以十餘年來以下崗女工為題材的電視劇為案例，重點圍繞2004年的《有淚盡情流》一劇， 對大陸電視劇的情感空間尤其是對社會悲情的表現作一探討。主要議題有中國當代電視劇是如何調動各種形式表現手段來建構情感空間、情感表達的具體內容，以及這個情感空間和情感實現在電視劇意義生成中的作用。我的結論是大眾傳媒是這個急劇變化的時代意識形態霸權建構的重要場域，但大眾傳媒同時也是各種社會經驗和社會情感表達和溝通的多面平台。
本文所採用的研究方法主要是類型和話語分析，並輔之以文本生產背景分析以及受眾研究。
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| Abstract |
In the last three decades, the TV serial drama (dianshi lianxuju) has developed into one of the most popular narrative forms in mainland China and has spawned a huge cultural industry. To understand fully the complex social functions and operating mechanisms of Chinese TV drama, it is important to draw from the recent scholarship on “the affective turn” that has emerged in various disciplines in the humanities and social sciences, especially in terms of studies of visual media. This paper uses recent TV serial dramas about laid-off female workers as an example to demonstrate the often neglected affective dimension of Chinese TV drama and its ambivalent televisual discourse on the economic reforms and the new dominance of capital in Chinese society.
Through close generic analysis of the melodramatic features of the settings, characters, and plotlines of selected TV dramas, in particular the 2004 drama Crying Your Heart Out (Youlei Jinqing Liu), and supplemented by audiences’ viewing experiences, the author explores the “affective articulation” of Chinese TV drama in three interrelated aspects: 1) the affective dimension and emotional meanings of these dramas; 2) the various narrative techniques and audiovisual devices employed to elicit these social emotions; and 3) the social implications and emotional impact of these melodramatic narratives in the context of the public discourse on retrenchment (xiagang).
The author finds that, although the emergence of TV dramas about laid-off women workers had its roots in the state’s re-employment project and economic reform discourse (in fact, many of these dramas have been produced by TV production centers in association with central and local government propaganda departments), the broadcast versions of these dramas are actually more complex and ambivalent than one would expect from their production context. The use of melodramatic forms in these TV dramas in mediating social issues and emotions produces emotional meanings far beyond their superficial ideological content. Working within the affective space opened up by everyday scenes and individual experiences, Chinese TV dramas about laid-off women and other Kuqing xi (drama of bitter emotions) reflect the historical forces and social crises that have emerged in a time of transition. The weeping and crying of women both on and off Chinese TV screens is thus symptomatic of powerful underlying social emotions, and at the same time provides a productive means for communicating and sharing those emotions. Thus the plight and potential salvation of laid-off women, and by extension, of other less privileged social groups, has been used as a powerfully affective form by various social agents with their own agendas. Such agendas include promoting the government’s reemployment project, voicing social discontent and emotional distress, and attempting to make sense of the enormous changes taking place in China today.
本文引用格式
孔書玉(2012)。〈下崗女工︑苦情戲及中國電視劇的情感空間〉。《傳播與社會學刊》，第19 期，頁31–58。
Citation of this article:
Kong, S. (2012). Melodrama of Change: Women, Bitter Emotions and the Affective Space in Chinese TV Drama. Communication & Society, 19, 31–58.
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| No.67 2024 January |
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| No.66 2023 October |
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| No.65 2023 July |
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| No.64 2023 April |
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| No.63 2023 January |
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