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中国的电视剧已经发展了十四个年头。在这十四个年头里,中国的电视剧已经形成了自己的风格、质量与规模,从草创时期的单本剧,到大量的连续剧,使得其创作人员、创作队伍都已经具有了一定的规模,取得了一些经验;特别是近年来受到观众欢迎的工厂化生产模式的室内剧的产生,使得中国电视剧的发展趋向已经越来越明显了。北京电视艺术中心的一系列作品:从《四世同堂》、《凯旋在子夜》、《便衣警察》、《狂潮》、《钟鼓楼》、《巾帼悲歌》、《走出沼泽》到《渴望》、《编辑部的故事》等等,这些脍炙人口、引起普遍关注的作品,就充分证明了如下两点: 1、创作者自身摸到了电视剧创作的规律,具有了电视剧文字美学和电视剧制作美学的雏型; 2、具有东方文化背景的中国观众,形成了较为明确的审美心理。
China’s TV series has been developed for fourteen years. In these fourteen years, China’s television dramas have formed their own style, quality and scale. From the sole play in the grass-roots period to a large number of serials, their creative staffs and creative teams have already reached a certain scale. Some experience has been gained. Especially in recent years, the production of in-room productions, which are welcomed by the audience in factory production mode, has made the development trend of Chinese TV series more and more obvious. A series of works by Beijing Television Arts Center: From “Four Generations”, “Triumph at Midnight”, “Plainclothes Policeman”, “Frenzy”, “Bell and Drum Tower”, “ , ”Editorial department story" and so on. All these popular works attracted widespread attention. They fully proved the following two points: 1. The creator touched the law of the creation of the TV series and possessed the aesthetics of the TV drama’s aesthetics of aesthetics and drama production Type; 2, the Chinese audience with oriental culture, formed a more clear aesthetic psychology.