谍战、少数民族叙事和家庭情节剧:欧阳黔森电视剧的多元类型实践

Spy Story, Narrative of Minority and Melodrama: Multi-Genre Practice in Ouyang Qiansen's TV Serials

谍战、少数民族叙事和家庭情节剧是欧阳黔森电视剧创作中三种主要的类型元素。谍战元素服务于他作品中的权力博弈式情节和人物设置,即欧阳黔森常通过板块式叙事结构、集团式人物群像和地理标识鲜明的空间预设来营造出想象性的叙事时空。同时,欧阳黔森电视剧剧作中的人物形象也呈现出鲜明的民族身份认同的自我意识。在他的作品中,对少数民族历史的讲述和反思并非集中在身份的焦虑之上,而是聚焦于少数民族角色对自己民族身份的先天性自信。最后,在欧阳黔森电视剧作中,家庭抽象为音乐隐喻标识,不仅宣告了家庭在中国社会发展和转型期的核心地位,还成为情感与物质的载体,承担起抒情与以物言志的功能。

There are three genre types in Ouyang Qiansen’s TV serial works: spy story, narrative of minority and melodrama. In his works, the main function of spy story is to create the plot of power game, and to better depict the characters. Ouyang Qiansen often creates an imaginative narrative space and time by means of block-style narrative structure, group figures and distinct spatial presupposition of geographical identity. Meanwhile, the characters in Ouyang Qiansen’s TV serials also present the distinct self-consciousness of national identity. In his works, the narration and reflection on the history of ethnic minorities are not focused on the anxiety of identity, but on the inherent confidence of ethnic minority characters in their national identity. Furthermore, in Ouyang Qiansen’s TV serials, family is abstracted as a music metaphorical symbol, which not only declares the core status of family in China’s social development and transformation period, but also becomes the carrier of emotion and material, and assumes the function of expressing emotions and aspirations with things.