本书梳理了批评界对中国电视剧五种最主要的创作方法，即批判性现实主义、纪实性创作方法、表现性创作方法、社会主义现实主义和通俗性创作方法的批评历程，对中国电视剧创作方法批评格局失衡状况的形成轨迹和形成原因进行了历时性研究。

本书认为，新时期以来三十多年的中国电视剧创作方法批评格局的演变历程，是一个逐步从“世界”“创作者”“欣赏者”等多维度批评向单一的“欣赏者”维度批评演变的过程。进一步的研究表明，虽然批评本身有着自己的发展逻辑和自足性，但是它们并没有超越发生于其中的历史语境，而是与特定时空的政治、经济、社会、文化等因素密切相关。从这个意义上说，诸种批评话语的演变过程，既揭橥了整个社会的变迁和转型过程，也为这个转型过程所深刻形塑，概而言之，是新时期以来中国自觉加入世界范围内现代性追求浪潮的结果。

This book sorts out the criticism of the five most important creative methods of Chinese TV dramas, namely critical realism, documentary creation methods, expressive creation methods, socialist realism and popular creation methods, and conducts diachronic research on the formation trajectory and formation reasons of the imbalance of the critical pattern of Chinese TV drama creation methods. This book argues that the evolution of the criticism pattern of Chinese TV drama creation methods for more than 30 years since the new period is a process of gradual evolution from multi-dimensional criticism such as "world", "creator" and "appreciator" to single "appreciator" dimension criticism. Further research shows that although criticism itself has its own development logic and self-sufficiency, they do not transcend the historical context in which they occur, but are closely related to the political, economic, social, cultural and other factors of a specific time and space. In this sense, the evolution of various critical discourses not only reveals the process of change and transformation of the entire society, but also profoundly shapes this transformation process, in short, it is the result of China's conscious participation in the wave of modernity pursuit in the world since the new era.（AI翻译）

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