Study On The Consumption Characteristic Of Chinese Television Drama Since 1990s

Since the 1990s', the media has gradually made for the market, and the functions of television drama have also been transformed. Popular culture is being prevalent while the TV drama, which is born with popularity and popularization, inevitably becomes the biggest co-conspirator of popular culture. When the characteristic of entertainment in the movie and television culture is increasingly outstanding, the cognitional, educational, even esthetic functions of movie and television have gradually weakened. However, its functions of sensory stimuli, game and entertainment are being strengthened and emphasized. Meanwhile, its characteristic of consumption is also getting much more obvious. In the new time, as one of the most important leisure ways and a head trip of Chinese, the television drama starts to undertake heavy responsibilities, the construction of modern people's dreams and myths, that is to say, the unappeasable desire and not-releasing anxiety are projected into a variety of teleplays to balance spirits. Thus, to a certain extent, its contents become "the myth of common custom" of audience, satisfy the affection of modern people obsessed with anxieties and panics and create many populace myths for the audiences to consume, such as Love myths, historical legend, knight-errant unreal and so on. The introduction briefly introduced the cause and purpose of the research. In addition, it depicts the research on teleplays, especially on teleplay-commercialization at present and the research methods I will use.The first chapter is to first introduce the rise of teleplays and tracks down the transformation of politics, economy and culture in the process of teleplays' development. The reason why its characteristic of consumption becomes increasingly conspicuous will be discussed against the background of its history. The second chapter is to first describe the process of teleplay's production, circulation, consumption and transmission. Next I will focus on how the teleplays' characteristic runs through the age of commercialization. Meanwhile, I will make use of cultural and industrial theory of Frankfurt School to analyze it. The third chapter is to take historical teleplays, swordsmen films and idol operas as for examples and discuss how audiences consume the happiness, dream and desire from teleplays' writer. At last, I will discuss that the teleplays improve the quality of aesthetic judgment and play a positive role in the audiences' philosophy and values while entertaining masses.