本文關(guān)鍵詞： 姜文 后現(xiàn)代 電影改編 文學(xué)作品　出處：《陜西師范大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：伴隨著后工業(yè)時(shí)代的到來,后現(xiàn)代主義文化理論在西方的地位越來越高,進(jìn)而后現(xiàn)代主義的作品也在世界范圍內(nèi)強(qiáng)勢(shì)興起。后現(xiàn)代主義理論不斷和其他文化的融合,逐漸呈現(xiàn)出系統(tǒng)的風(fēng)格特征,即對(duì)傳統(tǒng)話語方式和宏觀敘事的反叛,對(duì)權(quán)威的消解、顛覆,以及戲仿、拼貼、顛覆中形成的黑色幽默和暴力美學(xué)。電影在誕生之初就與文學(xué)綁在了一起,電影改編文學(xué)作品已經(jīng)變成了司空見慣的一個(gè)現(xiàn)象。后現(xiàn)代主義在影響文學(xué)作品藝術(shù)構(gòu)建的同時(shí)也對(duì)電影產(chǎn)生了革命性的影響,這種影響一方面表現(xiàn)在電影自身的影像風(fēng)格的后現(xiàn)代化,另一方面就是電影對(duì)文學(xué)作品改編方式的后現(xiàn)代化。后現(xiàn)代文化語境下的電影改編出現(xiàn)了更加多樣化的趨勢(shì),導(dǎo)演們不再只是將目光放在經(jīng)典文學(xué)上,后現(xiàn)代文化讓電影改編的范圍擴(kuò)大,并且改編的方式也更加自由化,他們關(guān)注的不只是原著,還有自己的創(chuàng)造。 在經(jīng)濟(jì)全球化的今天,后現(xiàn)代主義逐漸影響著我國,越來越多的優(yōu)秀導(dǎo)演將目光投向后現(xiàn)代文化。起初作為演員的姜文潛移默化受到了很多導(dǎo)演的影響,從演員到導(dǎo)演,他自然將這種文化觀念引入了自己的作品。姜文的四部電影作品都是從文學(xué)作品改編而來,并且取得了極大的成功,他的四部作品奠定了他在中國電影史上不可替代的地位。每一部作品都會(huì)引起業(yè)界、學(xué)界以及觀眾的極大反響,甚至在一定時(shí)間里演變成一種文化習(xí)慣或文化現(xiàn)象。姜文的作品又充滿了強(qiáng)烈的“作者性”,他在影片中表現(xiàn)的特質(zhì)是文學(xué)作品的所沒有的。本文意圖通過從他的四部作品從取材、改編的過程以及改編后的藝術(shù)特征和文化價(jià)值,分析姜文電影的文學(xué)改編規(guī)律。 本文第一章緒論部分主要從選題意義、國內(nèi)外研究現(xiàn)狀、以及研究方案上總體探討后現(xiàn)代語境下的電影改編方式。第二章主要分析后現(xiàn)代文化的基本特征和后現(xiàn)代文化給電影的創(chuàng)作帶來了哪些突破性的改變,然后結(jié)合姜文的四部電影和王朔、尤鳳偉、葉彌、馬識(shí)途的四部小說進(jìn)行對(duì)比分析,宏觀地闡述了在文學(xué)作品向電影作品轉(zhuǎn)化的過程中,姜文電影的改編理念。第三章從電影和小說的文本層面進(jìn)行對(duì)比分析,從電影中的人物群像、暴力渲染、視聽奇觀、以及臺(tái)詞對(duì)白四個(gè)方面的改編技巧中解讀姜文改編過程中的后現(xiàn)代重構(gòu)。第四章主要在敘事結(jié)構(gòu)上挖掘電影和小說兩種文本的轉(zhuǎn)換,并總結(jié)出小說改編成電影后,姜文采用的反常規(guī)的敘事邏輯和非敘事元素的運(yùn)用,進(jìn)一步凸顯姜文電影改編的后現(xiàn)代特征。 基于上述幾個(gè)方面的論述,可以發(fā)現(xiàn),無論是《陽光燦爛的日子》對(duì)小說原著的大體忠實(shí),還是《鬼子來了》與《讓子彈飛》后現(xiàn)代的重寫以及《太陽照常升起》天馬行空的夢(mèng)境式改編,姜文始終不放棄個(gè)人的思考,后現(xiàn)代的語境給了姜文更多的創(chuàng)作空間,姜文在文學(xué)作品的選擇上,沒有過多的關(guān)注文學(xué)經(jīng)典,而是善于從藝術(shù)水平不一的文學(xué)作品中發(fā)現(xiàn)自己真正的需求,他的素材選取是后現(xiàn)代的；改編的過程中不拘泥于已有的小說資源,可以在人物形象、暴力美學(xué)、視聽奇觀、臺(tái)詞對(duì)白、敘事邏輯以及意象化的非敘事元素上下功夫,所以姜文電影的文學(xué)改編過程又是后現(xiàn)代的。 姜文從最初的《陽光燦爛的日子》開始,一直不斷地尋求突破,他的每一部作品都是厚積薄發(fā),姜文的電影改編的成功也為中國電影的探索提供了有價(jià)值的參考。
[Abstract]:With the coming of post industrial era, post-modern cultural theory in the west is becoming more and more high, and the postmodern works in the world. A strong rise of postmodernism theory constantly and fusion of other cultures, gradually showing the style characteristics of the system, the traditional mode of discourse and macro narrative of rebellion digestion of authority, subversion, and parody, collage, subversion in the formation of black humor and aesthetics of violence. In the beginning of the birth of film and literature together, the film adaptation of literary works has become a phenomenon. It is quite common for postmodernism in the literary works of art while the impact of construction on the film have a revolutionary impact, the impact on the one hand the performance of modernization in the image style of the movie itself, on the other hand is on the film adaptation of literary works of modern postmodern. The cultural context of the film adaptation of a more diversified trend, the directors not only focus on the classical literature, postmodern culture makes the film adaptation of the expanded and adapted more liberalization, they focus on not only the original, as well as their own creation.
In the economic globalization, postmodernism gradually affecting our country, more and more outstanding director focus on modern culture. At first as an actor, Jiang Wen subtly influenced by many directors, from actor to director, he will be the natural culture into his works. Jiang Wen's four films are adapted from literary works, and achieved great success, his four works laid his irreplaceable position in the Chinese movie history. Every film industry will cause great repercussions, academic circles and the audience, even in a certain time evolved into a cultural habit or culture the phenomenon of Jiang Wen's works is full of strong sense of "author", his performance in the film quality literature have not. This article attempts from his four works from the materials, have adapted by Cheng Yi And the artistic features and cultural values of the adaptation, analyze the literary adaptation of Jiang Wen's film.
The first chapter mainly from the significance of the topic, research status at home and abroad, and the research program on the overall discussion of postmodern context adaptation ways. The second chapter mainly analyzes the basic characteristics of modern culture and post-modern culture to the creation of the film which has brought the breakthrough change, and then combined with Jiang Wen's four film Wang Shuo, You Fengwei, Ye Mi, comparative analysis of Ma Shitu's four novel, the macro expounds the process of transformation to the film works in the literary works of Jiang Wen, the film adaptation concept. Comparative analysis of the third chapter text from the perspective of movies and novels, the characters in the movie, violence, audio-visual spectacle. The process of adaptation and interpretation of Jiang Wen four aspects of dialogue in the adaptation skills in postmodern reconstruction. In the fourth chapter, the narrative structure of mining conversion movies and novels in the two, After summarizing the adaptation of novels to movies, Jiang Wen's application of unconventional narrative logic and non narrative elements further highlights the postmodern characteristics of Jiang Wen's movie adaptation.
Based on the discussions above, can be found, whether it is "sunshine brightday > of the original novel in the faithful, or" to the devil "and" let the bullets fly "postmodern rewriting and" the sun also rises dream > a powerful and unconstrained style adaptations, Jiang Wen never give up thinking people, post modern the context gives Jiang Wen more creative space, Jiang Wen in the literary works of choice, not too much attention to literary classics, but at different levels of the literary works of art found their true needs, his material selection is postmodern; adaptation process does not rigidly adhere to the existing novel resources, can in the figure, violence aesthetics, visual spectacle, dialogue, narrative logic and non narrative elements of images on the hard, so Jiang Wen film adaptation process is postmodern.
Jiang Wen started from the initial "sunny days", constantly seeking a breakthrough, each of his works are Jiang Wen's film adaptation of the accumulate steadily, the success also provides valuable reference for the exploration China film.

【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J904

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本文編號(hào)：1459091