中国谍战电视剧是深受我国观众喜爱的一类电视剧，至今已有多年的发展历史，悲剧性逐渐成为谍战剧独有的艺术特色。在其发展的过程中，这一电视剧类型不断演变、创新，呈现出崭新的创作特点。特别是进入新时代（2012年）以来，受到政治环境、审美变化、受众心理等多种因素的影响，谍战剧类型不断开拓，将主流意识形态、艺术表达与商业化运作深度融合在一起，在悲剧表达方面更加深刻，开创了谍战剧创作的新局面。
本文以新时代（2012年）以来的中国谍战电视剧为研究样本，运用文本分析法和案例分析法，在悲剧美学的理论视角下，结合叙事学理论、符号学理论、接受美学等经典理论，总结中国谍战电视剧悲剧美学的主要特征；并从人物塑造、叙事策略、视听语言等方面对新时代中国谍战电视剧的悲剧美学的独特之处和建立路径进行探究，并对其存在的创作问题作出反思。
本文通过对我国新时代（2012年）以来典型的谍战剧作品进行详尽的分析，发现我国新时代（2012年）以来的谍战电视剧悲剧美学的主要特征包括悲剧冲突与对抗、天然的审美距离所带来更为深刻的悲剧审美体验，在满足高层次的审美需求和塑造主流价值观念的潜在认同等方面具有极高的现实价值。在谍战剧悲剧美学的具体的创作手段层面，新时代的谍战电视剧在人物塑造方面，英雄人物身份的复杂性进一步提升、复杂人物增强了对历史悲剧的思考、小人物的悲剧群像更为生动；在叙事策略方面，表现为多元化的叙事视角、丰富的意象符号、叙事风格的杂糅；在视听语言方面，镜头和光影的合理运用塑造了谍战剧的深沉内敛的悲剧影像审美，并通过配乐和对白拓展悲剧的表意空间，增强悲剧的冲击力和悲剧深度。
谍战剧既在大众文化中占有一席之地，又在建构主流价值观方面发挥着重要的作用，如何通过悲剧美讲好中国谍战故事，加强对其创作的研究，具有重要的社会意义。同时，研究新时代中国谍战电视剧的悲剧美学对创作者实践具有理论指导作用。当下我国的谍战电视剧在悲剧性创作上仍存在着问题，需要引起我们的重视和思考。

Chinese spy drama is a type of TV drama that is deeply loved by Chinese audiences. It has been developed for many years, and tragedy has gradually become a unique artistic feature of spy drama. In its development process, this type of TV drama has continuously evolved and innovated, presenting new creative characteristics. Especially since entering the new era (2012), influenced by various factors such as political environment, aesthetic changes, and audience psychology, spy drama genres have continuously expanded, deeply integrating mainstream ideology, artistic expression, and commercial operation. In terms of tragic expression, they have become more profound, creating a new situation for spy drama creation.
This study focuses on Chinese spy dramas produced since the new era (2012) as the research sample. Utilizing text analysis and case study methods, it examines the tragic aesthetics of these dramas through a theoretical lens of tragic aesthetics, integrating theories of narrative, semiotics, and reception aesthetics. The study summarizes the key features of the tragic aesthetics in Chinese spy dramas. Furthermore, it delves into the unique aspects and development of the tragic aesthetics in these dramas of the new era, focusing on character development, narrative strategies, and audio-visual language. The study also reflects on the existing creative challenges faced by these dramas.
This article analyzes typical spy dramas produced in China since the new era (2012) and identifies the main features of tragic aesthetics in these dramas. These include tragic conflicts and their resolution, the profound tragic aesthetic experience fostered by an inherent distance in perception, and the significant practical value in fulfilling high-level aesthetic demands and fostering latent recognition of mainstream values. At the level of creative techniques, the new-era spy dramas have seen a more complex portrayal of heroic identities, a heightened reflection on historical tragedies by complex characters, and more vivid portrayals of the tragic images of ordinary individuals. Narratively, these dramas feature diverse perspectives, a wealth of imagery and symbols, and a blend of narrative styles. In terms of audio-visual language, the intelligent use of camera movements and lighting and shadowing creates a deeply introspective aesthetic of tragic imagery in spy dramas. Additionally, through musical scores and dialogue, these dramas broaden the expressive realm of tragedy, enhancing its impact and depth.
Spy dramas not only occupy a place in popular culture, but also play an important role in constructing mainstream values. It is of great social significance to tell Chinese spy stories well through tragic beauty and strengthen research on their creation. At the same time, studying the tragic aesthetics of Chinese spy drama in the new era provides theoretical guidance for creators in their practice. At present, there are still problems in the tragic creation of spy dramas in our country, which need our attention and reflection.