本文選題：當(dāng)代文學(xué)　切入點(diǎn)：電影改編　出處：《華中師范大學(xué)》2013年碩士論文

【摘要】：電影自誕生之日起,就與文學(xué)結(jié)下了不解之緣,特別是新世紀(jì)以來(lái),隨著媒介重心由文字向影像轉(zhuǎn)移,文學(xué)作品的電影改編愈演愈烈,這種改編形成的當(dāng)代文學(xué)與電影的強(qiáng)勢(shì)互動(dòng),不能不引起我們當(dāng)代文學(xué)的關(guān)注和反思。本文著眼于新世紀(jì)以來(lái)當(dāng)代文學(xué)作品的電影改編,旨在通過(guò)具體的文學(xué)文本和文化現(xiàn)象,分析兩者之間的互動(dòng)關(guān)系,討論電影改編對(duì)當(dāng)代文學(xué)的傳播機(jī)制、審美、作家的創(chuàng)作等方面帶來(lái)的影響。 作為緒論,本文首先從符號(hào)學(xué)、敘事學(xué)兩個(gè)方面探討文學(xué)藝術(shù)與電影藝術(shù)的異同,分析文學(xué)作品改編成電影的可行性。在第一章,本文梳理了自新時(shí)期以來(lái)文學(xué)與電影互動(dòng)關(guān)系的變遷：包括“文學(xué)馱著電影走”、“電影馱著文學(xué)走”、“熱播與暢銷(xiāo)的互動(dòng)”三個(gè)階段,并總結(jié)出這三個(gè)階段互動(dòng)關(guān)系中改編觀念、改編內(nèi)容、改編方式等不同特征。然后作為文章的重點(diǎn)部分,分三章探討電影改編給文學(xué)的傳播、接受、生產(chǎn)帶來(lái)的積極或消極的影響。 一是電影改編同文學(xué)傳播的良性互動(dòng),主要體現(xiàn)在商業(yè)社會(huì)與生產(chǎn)優(yōu)勢(shì)、機(jī)械復(fù)制與傳播優(yōu)勢(shì)、讀圖時(shí)代與接受優(yōu)勢(shì)三個(gè)方面。二是電影改編對(duì)文學(xué)審美的影響,電影改編對(duì)文學(xué)的傳統(tǒng)審美價(jià)值造成了一定的破壞和沖擊,主要體現(xiàn)在“光韻”的消失與審美能力的鈍化、審美對(duì)象的生活化和趣味的庸俗化等,但是電影也以畫(huà)面、聲音的復(fù)雜變化,擴(kuò)寬了文學(xué)的審美空間,使文學(xué)審美方式多樣化。三是電影改編對(duì)作家創(chuàng)作的影響。首先是作家自身定位的不同選擇,有些作家主動(dòng)與影視“聯(lián)姻”,實(shí)現(xiàn)了作家到編劇身份的轉(zhuǎn)變,有的作家仍不甘寂寞地堅(jiān)守著傳統(tǒng)文學(xué)的創(chuàng)作,有的作家努力尋找兩者之間的平衡,有目的性、有原則地參與電影改編；其次是作家創(chuàng)作觀念的改變,主要體現(xiàn)在創(chuàng)作題材的通俗化和創(chuàng)作動(dòng)機(jī)的功利化；再次是作家敘事方式的調(diào)整,表現(xiàn)在敘事中的影像化傾向以及敘事語(yǔ)言的口語(yǔ)化、通俗化等。 在結(jié)語(yǔ)中,作為話(huà)題的引申,也是本文研究的目的,探討在“讀圖時(shí)代”當(dāng)代文學(xué)的命運(yùn)以及當(dāng)代文學(xué)應(yīng)該如何跟電影保持良好的互動(dòng)關(guān)系,相互學(xué)習(xí),更好地發(fā)展自己,獲得新生。
[Abstract]:Since the birth of the film, it has been inextricably related to literature. Especially since the new century, with the shift of the focus of the media from words to images, the adaptation of literary works has become more and more serious. The strong interaction between contemporary literature and film formed by this kind of adaptation cannot but arouse the concern and reflection of our contemporary literature. This paper focuses on the film adaptation of contemporary literary works since the new century, aiming at the adoption of specific literary texts and cultural phenomena. This paper analyzes the interaction between the two, and discusses the influence of film adaptation on the communication mechanism, aesthetics and writers' creation of contemporary literature. As an introduction, this paper first discusses the similarities and differences between literary art and film art from two aspects of semiotics and narratology, and analyzes the feasibility of adapting literary works to movies. This paper combs the changes of the interaction between literature and film since the new period, including the three stages of "literature carrying film", "film carrying literature", "hot broadcast and best-selling interaction", and summarizes the concept of adaptation in these three stages of interaction. Then as the key part of the article, it discusses the positive or negative effects of film adaptation on the dissemination, acceptance and production of literature. The first is the positive interaction between film adaptation and literary communication, which is mainly reflected in three aspects: commercial society and production advantage, mechanical reproduction and transmission advantage, reading time and acceptance advantage, and the influence of film adaptation on literary aesthetics. Film adaptation has caused certain destruction and impact on the traditional aesthetic value of literature, mainly reflected in the disappearance of "light rhyme" and the passivation of aesthetic ability, the life of aesthetic objects and the vulgarization of taste, etc. The complex change of sound widens the aesthetic space of literature and makes the literary aesthetic way diversified. Third, the influence of film adaptation on the writer's creation. First, the different choice of the writer's own orientation. Some writers take the initiative to connect with the film and television "marriage", realized the writer to the writer identity transformation, some writers still unwillingly adhere to the traditional literature creation, some writers strive to find the balance between the two, has the purpose, Participating in the film adaptation in principle; secondly, the change of the writer's creative idea, mainly reflected in the popularization of the creation subject matter and the utilitarianism of the creative motive; again, the adjustment of the writer's narrative way, The visual tendency in narration and the colloquialization and popularization of narrative language. In the conclusion, as an extension of the topic, it is also the purpose of this study to explore the fate of contemporary literature in the "Reading Picture Age" and how contemporary literature should maintain a good interactive relationship with the film, learn from each other, and better develop itself. Get a new life.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J905;I206.7

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