General Theory of Television Art -- New Perspectives on Television Series

Author: Lan Fan
Publisher:
Publish Date: 2005-03-01
Features: In today's "image-driven era," which has been heavily hyped by various media, the status of film and television art has been on a straight upward trend, and its theoretical research has also been heating up, with broader and more extended perspectives, angles, and methods. However, relatively speaking, although many television theory books have been published, they have started later and struggle to keep pace with the evolving aesthetic practices of television and are far less rich and mature than film theory. For this reason, we attempt to explore the forms, styles, social attributes, and types of television art in contemporary China from new perspectives, aiming to attract the interest of academic peers and television enthusiasts alike, and further promote the prosperity and development of Chinese television theory.
Currently, domestic television theoretical research has achieved significant accomplishments, but there are still some shortcomings and areas that fall short of expectations. For instance, when borrowing Western film and television theory and cultural criticism, there is often a lack of research that combines it with local realities. In some theoretical works, macro-level discussions and overviews often overshadow detailed analysis, leading to a disconnect between theory and practice. Moreover, the practice of blindly applying literary theory and film theory to television remains common, and the analysis and elaboration of television's uniqueness and discourse are still far from sufficient.
For this reason, we believe it is essential to stay grounded in the essence of television itself and explore its own topics and theories. Since television communication is inherently a form of mass communication, it covers a wide range of areas and intersects with many disciplines. Therefore, combining other fields with television research is necessary to gain an international perspective on television media and culture. Based on this thinking, we have developed various propositions, such as television and aesthetics, television and society, television and humanity, television and literature, television and narrative, and television and traditional Chinese opera.
The ideas and insights of the authors are both personal research findings and explorations. Some may have formed their own systems, while others may still have shortcomings that need further refinement and supplementation. However, they can serve as references and contribute as one element in the diverse theoretical landscape of today.
The foundational disciplines of television must strengthen their theoretical foundations, break through disciplinary boundaries, expand at the forefront of interdisciplinary research, and cultivate future professionals. This is the attitude that those of us teaching television in higher education naturally adopt, and it is also a fundamental starting point for writing this series of books. If some of the contributions in this series are worth reading, inspire others to think more deeply, and provide insights for film and television students, then we will feel deeply honored and justified in our efforts.
As，“，,” how easy is it to achieve? Learning has no end, and so does academic pursuit. Just as truth can only be approached gradually and never fully grasped, we hope our efforts are incremental and sincere. While it may be difficult to completely escape the surrounding clamor and of the times, we can at least avoid vulgar commercial and speak of our academic views with a simple academic conscience. We also seize this opportunity to cultivate students' interest and passion for television, further update their perspectives, and encourage bold innovation to adapt to the reforms and advancements in film and television education in the context of globalization.
Television art is a genre of art created with advanced technology. This book provides a systematic analysis of the distinctions between television art and television, as well as television art and television literature, which is beneficial for the theoretical development and practical application of television art. Based on over two decades of research experience, this book is a dedicated monograph on television art by the author, following the works 《》 and 《》. It is also a companion to the author's 《》. The book is divided into seven chapters, including: Analysis of Television Art, Introduction to the Study of Television Art, The Art of Television Dramas, MTV/MV Theory, The Art of Television Dance, The Art of DV, and The Art of Television Advertising.