| Major:Modern and Contemporary Chinese LiteratureOrientation:Movie and TV LiteratureTutor:Professor Vu JiAuthor:Tian YiguiIf taking the appearance of Press-ganging of Able-bodied Man produced in 1963 as the beginning, Sichuan-Congqing dialectal movie & TV play has reached a history of thirty-eight years up to 2001. In recent years, the influence of Sichuan-ChQngqing dialectal movie & TV play has been increasing all over China. However, up to now, the research on it still has been sporadic, and nobody has ever systematically made a theoretical summarization of it. This dissertation attempts to do some initiative work in this field, trying to make a preparation for the theoretical study on the artistic form an pattern of Sichuan-Chongqing dialectal play.In the exordium, this dissertation analyzes the linguistic context of the existing of dialectal movie & TV play. It holds the view that: the "dialect phenomenon" is more common and natural in everyday life than the "eandarin phenomenon" dialect is closer than mandarin to common people's life; and in order to strengthen the work's authenticity and artistic inspiration, and at the same time, to give prominence to the work's regional characteristics, dialects are used in movie & and TV plays. The inferiority of dialect play is obvious comparing with mandarin play. However, Sichuan and Chongqing areas have become the fertile field for the growing of dialectal plays, because there exists the tensile space between Sichuan dialect (including Chongqing dialect) and mandarin.The overall structure corresponds with the dividing periods of the development of Sichuan-Chongqing dialect movie & TV play, and hence, the latter is to be discussed in five chapters:Chapter one discusses the beginning period (1960s), marked by the birth of the movie Press-ganging of Able-bodied Man. Adopting the vertical structure, and prefaced with the creating, acting out and "extending"of the play, the essay discusses the brief course of andthe reasons for how Press-ganging Able-bodied Man has become the "dlassical myth"Chapter two discusses the extension and exploration period (1982-1989). This period began with Men Are All Different produced in 1982 and ended with time before Ling Tangyuan produced in 1989. Adopting the circular and nesting structure, and focusing on Men Are All Different, this chapter discusses the function of extension and exploration from the angles of outdoor shooting, comical style and the distinction of Bashu regional culture.Chapter three discusses the firs climax period (the ending years of 1980s). This period is marked by the two works of Ling Tangyuan produced in 1989 and Rippling in Still Water produced in the same year. With a transverse structure, this chapter compares the differences and similarities between the two works on the four aspects of the choice of historical themes, disinterment of the charms of dialect, exhibition of regional customs and practices and inosculation and infusion of the spirit of Sichuan opera. And accordingly, two conclusions are reaches: both of the plays acquired "distorical character and jointly created the first climax in the history of development of Sichuan-Chongqing dialect play; the interfluve of the two main style of "michuan flavor"and "thongqing flavor"began to appear represented respectively by the two play.Chapter four discusses the second climax (1990s). This period is marked by the TV films Flathead Division Commander and Shoulder Pole Army in Mountain City and movies Lotteries of One Million and the setting-up of the dialect TV columns of Fog City Night Talk and Tianfu Chatting. With a vertically and horizontally nesting structure, this chapter analyzes the Sichuan-Chongqing dialectal phenomenon through the discussing of the representative works of teleplays, movies and TV columns (short plays).Chapter five discusses the third climax period (the turning of the centuries). This period is marked by the scheming and operation of TV series, including the repr... |
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