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作为新生代谍战题材电视剧的代表作,《潜伏》于2009年在荧屏上掀起谍战、特情片的新高潮,它成功地突破了传统谍战剧的人物形象塑造,相比于传统谍战剧中对女性人物形象的塑造具有模式化、脸谱化的缺陷,《潜伏》剧中对女性人物形象的塑造带来了一种不一样清新之风。通过对剧中左蓝、翠平以及晚秋三位女性的人物的成功塑造,开创了新谍战剧女性人物形象的先河,其剧中女性形象的创造的大胆突破对后续谍战剧中的女性形象的塑造具有重大的意义。本文对《潜伏》与传统谍战剧中的女性形象的区别进行分析,并陈述了其对后续的新谍战剧中的女性形象创作的影响。
As a masterpiece of the new generation of spy war drama series, “Lurking” set off a new upsurge in spy games and special films on the screen in 2009, which succeeded in breaking through the characterization of traditional spy-war dramas. Compared with traditional spy games The shaping of female characters in the play has the defects of pattern and facialization, and brings a different fresh style to the shaping of female characters in the “latent” drama. Through the success of the drama of Zuo Lan, Cui Ping and the success of the late-autumn female characters, they created the precedent of the female figure in the new spy-war drama and the bold breakthrough in the creation of the female image in the drama to the women in subsequent espionage drama The shaping of the image is of great significance. This article analyzes the difference between “latent” and female images in the traditional spy-war drama and states its influence on the female image creation in the subsequent new spy-war drama.