論劉震云小說創(chuàng)作的影視化傾向
發(fā)布時間：2018-08-20 12:40
【摘要】：二十世紀九十年代以來，隨著政治、經(jīng)濟、文化的持續(xù)變革，尤其是市場經(jīng)濟的飛速發(fā)展，大眾文化的發(fā)展走向繁榮之路。其中，影視藝術(shù)以其形象、直觀的文化形式逐漸占據(jù)了審美領(lǐng)域的主導(dǎo)地位。在這一沖擊和擠壓下，原本處于文化中心的純文學(xué)日益走向邊緣，文學(xué)的生產(chǎn)方式也受到影響。因此，文學(xué)的“觸電”成為拓展生存和傳播空間的文化選擇。 文學(xué)只有轉(zhuǎn)型才能適者生存。為了適應(yīng)影視文化這一外部環(huán)境，當代很多作家紛紛參與到影視與小說的互動中，劉震云是其中一位。作為新時期最具才華的作家之一，劉震云的小說《一地雞毛》、《手機》、《我叫劉躍進》、《溫故一九四二》相繼被搬上大熒幕并引起熱烈反響。隨著影視的熱播，，身兼作家和編劇雙重身份的劉震云儼然成為大眾文化的重要符號。這位“喜劇時代的批評家”，從未遠離現(xiàn)實。在與影視的互動中，他一方面認同作家為影視寫作，肯定影視藝術(shù)的獨特價值，另一方面又十分注重保持小說的文學(xué)價值，捍衛(wèi)自己的創(chuàng)作思想與個性。劉震云小說影像化的嘗試，給新世紀文學(xué)的發(fā)展提供了參考模式，也為今后的文學(xué)創(chuàng)作指明了方向。 本論文將從小說影像化的視角出發(fā)，以劉震云的小說創(chuàng)作為個案，分析和總結(jié)視覺文化語境下劉震云小說的影像化傾向。全文除引言和結(jié)語外，分為三個部分。第一部分主要闡釋劉震云小說的影像化語境。第二部分從《手機》、《我叫劉躍進》等具體文本出發(fā)，探尋劉震云小說的影像化特質(zhì)。包括世俗化、欲望化審美風(fēng)貌的轉(zhuǎn)變，畫面感、視聽效果的營造，口語化、通俗化語言的運用以及戲劇化的情節(jié)和蒙太奇手法的借鑒。第三部分則探討劉震云小說影像化的價值和局限，以及給當代文學(xué)轉(zhuǎn)向帶來的思考。
[Abstract]:Since the 1990s, with the continuous changes of politics, economy and culture, especially the rapid development of market economy, the development of popular culture has moved towards the road of prosperity. Among them, film and television art with its image, intuitive cultural form gradually occupied the leading position in the aesthetic field. Under this impact and compression, the pure literature, which was originally in the cultural center, was increasingly moving to the edge, and the mode of production of literature was also affected. Therefore, the "shock" of literature has become the cultural choice to expand the living and spreading space. Only the transformation of literature can survive the fittest. In order to adapt to the external environment of film and television culture, many contemporary writers have participated in the interaction between film and fiction, Liu Zhenyun is one of them. As one of the most talented writers in the new era, Liu Zhenyun's novels "Chicken hair", "Mobile phone", "my name is Liu Yuejin", "Wenxue 1944" were put on the big screen one after another and aroused enthusiastic response. With the popularity of film and television, Liu Zhenyun, as a writer and screenwriter, has become an important symbol of popular culture. The critic of the Comedy Age has never been far from reality. In the interaction with the film and television, on the one hand, he agrees that the writer writes for the film and television, affirming the unique value of the film and television art; on the other hand, he pays great attention to maintaining the literary value of the novel and defending his creative thought and individuality. The attempt to visualize Liu Zhenyun's novels not only provides a reference model for the development of literature in the new century, but also points out the direction of literary creation in the future. This thesis will analyze and summarize the visual tendency of Liu Zhenyun novels in the context of visual culture, taking Liu Zhenyun's novel creation as a case. In addition to the introduction and conclusion, the full text is divided into three parts. The first part mainly explains the image context of Liu Zhenyun's novels. The second part explores the image characteristics of Liu Zhenyun novels from the following texts: mobile phone and my name Liu Yuejin. Including secularization, desire of the transformation of aesthetic features, screen sense, audio-visual effects of the construction, colloquial, the use of popular language, as well as dramatic plot and montage techniques for reference. The third part discusses the value and limitation of Liu Zhenyun's fictions, and the reflection on the turn of contemporary literature.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：I207.42
本文編號：2193638
[Abstract]:Since the 1990s, with the continuous changes of politics, economy and culture, especially the rapid development of market economy, the development of popular culture has moved towards the road of prosperity. Among them, film and television art with its image, intuitive cultural form gradually occupied the leading position in the aesthetic field. Under this impact and compression, the pure literature, which was originally in the cultural center, was increasingly moving to the edge, and the mode of production of literature was also affected. Therefore, the "shock" of literature has become the cultural choice to expand the living and spreading space. Only the transformation of literature can survive the fittest. In order to adapt to the external environment of film and television culture, many contemporary writers have participated in the interaction between film and fiction, Liu Zhenyun is one of them. As one of the most talented writers in the new era, Liu Zhenyun's novels "Chicken hair", "Mobile phone", "my name is Liu Yuejin", "Wenxue 1944" were put on the big screen one after another and aroused enthusiastic response. With the popularity of film and television, Liu Zhenyun, as a writer and screenwriter, has become an important symbol of popular culture. The critic of the Comedy Age has never been far from reality. In the interaction with the film and television, on the one hand, he agrees that the writer writes for the film and television, affirming the unique value of the film and television art; on the other hand, he pays great attention to maintaining the literary value of the novel and defending his creative thought and individuality. The attempt to visualize Liu Zhenyun's novels not only provides a reference model for the development of literature in the new century, but also points out the direction of literary creation in the future. This thesis will analyze and summarize the visual tendency of Liu Zhenyun novels in the context of visual culture, taking Liu Zhenyun's novel creation as a case. In addition to the introduction and conclusion, the full text is divided into three parts. The first part mainly explains the image context of Liu Zhenyun's novels. The second part explores the image characteristics of Liu Zhenyun novels from the following texts: mobile phone and my name Liu Yuejin. Including secularization, desire of the transformation of aesthetic features, screen sense, audio-visual effects of the construction, colloquial, the use of popular language, as well as dramatic plot and montage techniques for reference. The third part discusses the value and limitation of Liu Zhenyun's fictions, and the reflection on the turn of contemporary literature.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：I207.42
【參考文獻】
相關(guān)期刊論文 前10條
1 王一川;與影視共舞的20世紀90年代的北京文學(xué)——兼論京味文學(xué)第四波[J];北京社會科學(xué);2003年01期
2 段大明;剖析社會病灶的手術(shù)刀──劉震云“官場系列小說”初論[J];武陵學(xué)刊;1995年04期
3 徐健;;生存的焦慮與無望的抗爭——劉震云“新寫實小說”再探[J];長春大學(xué)學(xué)報;2006年07期
4 董之林;向故事蛻變的“歷史”──劉震云的《故鄉(xiāng)天下黃花》及其他[J];當代作家評論;1995年01期
5 高橋;;制片人劉震云與《我叫劉躍進》[J];大眾電影;2007年19期
6 周憲;視覺文化語境中的電影[J];電影藝術(shù);2001年02期
7 蘇文菁;小說敘述時間的空間化——電影手法對當代小說的反哺[J];外國語言文學(xué);2004年03期
8 陳振華,劉學(xué)峰;劉震云的意義及局限[J];淮北煤炭師范學(xué)院學(xué)報(哲學(xué)社會科學(xué)版);2003年04期
9 劉霞云;;永恒的尖銳對抗與寂寞守望——劉震云小說主旋律題旨釋讀[J];淮北師范大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2012年02期
10 趙茜琦;趙興元;;影視文化對劉震云小說創(chuàng)作的影響——以《手機》為例[J];黑龍江科技信息;2010年09期
本文編號：2193638
本文鏈接：http://www.sikaile.net/jingjilunwen/zhengzhijingjixuelunwen/2193638.html
最近更新
教材專著
