本文主要论述和探讨了两大问题：首先是中国情景喜剧的发展历程研究，特别关注的是我国情景喜剧在创作过程和行业操作中的抄袭、跟风、雷同、盲目投资、缺乏进取精神等一系列保守化现象以及这些现象背后隐藏着的社会和文化意义。其次，着力研究了情景喜剧作为一种电视剧作形式如何在亲民、自由的表象下把握和培养受众心理。在一切为收视率服务的年代，电视情景喜剧更加隐蔽地加强了对电视观众思想和笑声的控制。本文不仅以电视制作者的立场和角度看待和分析问题，从中得到“电视学研究”的经验和启示；同时更倾向于站在普通观众个体和电视受众群体的角度，对上述现象和其本质进行“社会学研讨”。文章在结构上分为三章，第一章是中国情景喜剧的发展历程研究，梳理了中国情景喜剧十五年的历史脉络。第二章研究的是中国情景喜剧创作中的保守化倾向，分别从表现、原因以及深层的社会意识与文化内涵层面进行了分析。第三章侧重于新世纪情景喜剧如何加强对观众的控制力的研究。本文借助美学、观众心理学、戏剧学、文化批评理论和社会学理论等来对我国的情景喜剧创作进行研究，视角全面，观点辩证，保证了研究的严谨性和科学性。在承认我国情景喜剧界十几年来取得成绩的同时，冷静客观地指出了当前我国情景喜剧行业领域的一系列弊病和陋习。本论文将理论研究与行业现实紧密相连、有机结合。秉承理论从实践中来，最终还要应用到实践中去的原则，密切关注我国情景喜剧行业内部的境况和变化以及播出平台的编播调整。同时，本研究并不停留在单纯的美学层面和创作层面，而是深入到社会文化层面，使得研究更具思辨性和社会文化价值。希望通过本论文的研究，能够为当前国内情景喜剧创作中的保守因子敲响警钟，将积极进取的创新精神注入创作领域，而不是一味地守驻在当前这块狭小的阵地里夜郎自大。同时，更希望透过对情景喜剧这一种电视剧作形式的研究，从中折射和启发出更深远的关于社会和文化层面的反思和考量。

This thesis mainly disserts and investigates on two questions: first, study in the history and development of Chinese sitcom, especially focus on the conservative phenomena, such as copy, blind follow, similarity, blind investments, lack of enterprising spirits of Chinese sitcom creation and industry operation, as well as the social and cultural significations behind these phenomena. Second, focus on how sitcom which is one form of the TV drama programs, grasps and trains the psychology and mentality of audiences, through the appearances of affability and freedom. In the era of high TV viewing rating conquers, sitcom strengthens the control of audiences’ thoughts and laughter much more covertly. This thesis not only treats and analyses questions in positions and angles of TV program producers in order to gets the experiences and enlightenments of “Television Study”, but also tends to standing at the point of view of ordinary TV audiences, to have a social discussion of the phenomena above mentioned as well as their essences.There are three chapters in this thesis. The first chapter is about the development and the 15 years history of Chinese sitcom. The second chapter focuses on the conservatism of Chinese sitcom creation, separately analyses from the manifestations, causes, deep social consciousness and cultures. The last chapter is about the research of how Chinese sitcom strengthens the control of audience in this new century.This research of Chinese sitcom creation is in the basis of aesthetics, audience psychology, drama, cultural criticism, sociology, it is comprehensive dialectical scientific and rigorous. This paper approbates the efforts of Chinese sitcom during these more than ten years, at the same time, points out the drawbacks and disadvantages of Chinese sitcom field objectively and clearly. This thesis that is in the conformity with the principle of “the theory comes from and the helps the practice” combines the theory and the reality, pays close attention to the internal industry situation and the change, as well as the adjustment for broadcast of Chinese sitcom. The research is not only about the aesthetics and creations, but also touches upon the community and culture. It is more speculative and valuable.Hope through the work of this thesis, will alert the current Chinese sitcom creation, will infuse the positive spirits of innovation, rather than staying and blowing up in the narrow field. At the same time, expect this research of Chinese sitcom can give rise to many more deep reflections and considerations of our culture and society.