中国电视剧历史叙事中的权力与性别——以宫斗剧为例

On Power and Gender in the Historical Narrative of Chinese TV Plays

宫斗剧由中国古代宫廷历史正剧发展而来,在其十几年的发展中不断遭受各种争议和批评,但时至今日仍然有着强劲的艺术生命力。宫斗剧在女人的"权力游戏"中继承了宫廷历史正剧的权谋文化内容,但其历史叙事中的"艺术失真"及对权谋文化反思的缺位都使其难以产生质量上乘的艺术精品。从性别视点看,无论权力游戏还是情爱叙事,宫斗剧都完成了由男性主体到女性主体的"性别翻转",但其所传达的现代女性意识和观念极为有限,在某种意义上更多是源于大众消费文化的需要。在未来中国电视剧的历史叙事中,能否通过叙事和镜语建立一套基于现代思想观念的新认同机制将是决定中国历史剧艺术质量的首要因素。

The historical TV plays about royal conflict,deriving from Chinese historical TV plays about palace,undergoes all sorts of controversy and criticism in recent over ten years. Though it still has a strong artistic vitality today because of the Machiavellian culture in women＇s ＂power game＂,it does not represent the Fine Works of Art due to its art distortion and the absence of reflection in its historical narrative. From the gender perspective,the historical TV plays about royal conflict finished the overturn of gender in both power game and love narrative,but its message of the modern concept of women is extremely limited because of its overturn of gender from the needs of the mass culture. In the future of the historical narrative of Chinese TV plays,the primary factor goes to whether it establishes a new system of recognition mechanism based on the modern concept that will determine the quality of Chinese historical TV plays.