从《亮剑》和《战长沙》看新时期抗战题材影视剧的叙事策略

Narrative Strategies of Films and Teleplays on the Theme of Anti-War in the New Period from the Works of “Drawing Sword” and “Battle of Changsha”

在新中国电视剧三十多年的发展历程中,抗战剧始终在官方层面占据着主流地位。进入新世纪以来,在大众传媒的发展和文化市场蓬勃兴盛的背景下,抗战剧相较于前一阶段的剧作模式化、脸谱化特征而言出现了一些塑造典型人物、结合民间叙事、家国叙事手法的优秀作品。通过《亮剑》和《战长沙》两部新时期的优秀作品看新世纪抗战题材电视剧在叙事策略上的特征,以及对抗战影视作品的未来发展提出期望。

In the course of more than 30 years of development of the new Chinese TV series, the anti-war drama has always occupied a mainstream position at the official level. Since the beginning of the new century, in the context of the development of the mass media and the flourishing of the cultural market, the anti-war dramas have seen some typical characters, combined with folk narratives and homes compared to the patterning and facial features of the previous stage. Excellent works of national narrative techniques. This article will look at the characteristics of the narrative strategy of the anti-war TV dramas in the new century and the future development of the film and television works in the war through the outstanding works of “Drawing Sword”and“Battle of Changsha”.