A Study of the Expression of Historical View by means of “Minor Characters " in Historical Dramas: An Example Relating to the CCTV Adaptation of “Romance of the Three Kingdoms"
DOI:
https://doi.org/10.54691/v46vnf91Keywords:
Historical Drama;Historical View; “Romance of the Three Kingdoms”; Characters of Minor Rank; People’s Perspective.Abstract
Among the key media used to form collective memory or to convey historical concepts and the narrative point of view adopted in such dramas it has a direct bearing upon the audience ' s ideas of, and attitude toward, history. The present paper deals with the CCTV adaptation of Romance of the Three Kingdoms as an object of investigation, and considers—among other things—the particular historical outlook embodied by this classic historical drama (as seen) through civilian figures, common soldiers, or helpers .It reports on findings that show that with strict regard for the great narrative of the original work, the CCTV the version under consideration gives a " people ' s perspective " not confined to the usual " great man " theory of history-so far as it treats in detail the minor characters .What is achieved artistically with regard to such figures may be taken as an aid, or even as a model, for present-day historical drama.
Downloads
References
[1] Huang, Y. X. (2021). The cross cultural communication of the film and television adaptation of Romance of the Three Kingdoms in Southeast Asia. Literature Education, 12.
[2] Liu, Y. T. (2015). On the image of Cao Cao in the old and new TV dramas of Romance of the Three Kingdoms. Sichuan Drama, (7).
[3] Qi, S. H. (2026). The three dimensions of narrating party history stories well from the perspective of grand history. Journal of Changsha University.
[4] Ta, N. (2026). An empirical study on the “five commonalities” of the Chinese national historical view in ancient books. Journal of Xingtai University.
[5] Zhao, D. Y., Wang, X. J., & Yang, C. (2026). Holistic historical view An analysis of the connotation of the "correct view of Chinese national history”. Delta, (2).
[6] Xue, Z. X. (n.d.). The construction of heroic images and their evolution in contemporary Chinese drama [Master’s thesis]. Jilin University.
[7] Li, R. (2026). The value embodiment and practical path of red culture in cultivating the Chinese national historical view. Water Culture, (1).
[8] Chen, T. T. (2024). The fast food communication of Romance of the Three Kingdoms from the perspective of Bilibili' s interpretative videos. News World, 1.
[9] Hou, G. J. (2025). Pragmatic and rhetorical errors in person deixis in the TV drama Romance of the Three Kingdoms. Journal of Putian University, (6).
[10] Li, C. Y. (n.d.). Examination of the armor of Yuan Shao and Cao Cao in the battle of Guandu in the TV drama Romance of the Three Kingdoms. Journal of Clothing Research, 12(2).
[11] Liu, Y. T. (2019). On the image of Lady Sun in Three Kingdoms literary and artistic works. Journal of Jiangsu University of Science and Technology (Social Science Edition), 19(3).
[12] Zhong, Z. Q. (2017). The hero halfway and the best supporting role—On the literary and artistic image of Yuan Shao in the 94 TV drama Romance of the Three Kingdoms and in history. Movie Review, (22).
[13] Lin, X. J. (2021). The cinematic interpretation of the founding story of the party and the shaping of the ”red boat” image in film and television. Movie Literature, (7).
[14] Chen, R., & Chen, Z. Y. (2021). The shaping of mythological characters’ film and television images from the perspectives of “Nezha” and “Thor”. Movie Literature, (3).
Downloads
Published
Issue
Section
License
Copyright (c) 2026 Scientific Journal Of Humanities and Social Sciences

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.





