發(fā)布時(shí)間：2018-02-22 17:48

  本文關(guān)鍵詞： 電影 文學(xué) 馮小剛 王朔　出處：《西南大學(xué)》2014年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：本文以馮小剛的電影和王朔的文學(xué)創(chuàng)作為研究對(duì)象,論述了馮小剛電影在風(fēng)格的形成、人物形象的設(shè)定、創(chuàng)作思想的轉(zhuǎn)變?nèi)矫媾c王朔創(chuàng)作的關(guān)系,力圖從馮小剛與王朔二人的合作來(lái)探尋電影與文學(xué)的實(shí)質(zhì)性聯(lián)系,為中國(guó)電影人創(chuàng)作優(yōu)秀的電影作品提供借鑒。 本文分為引言、正文和結(jié)語(yǔ)三個(gè)部分,正文部分分為三章。 引言部分首先對(duì)電影與文學(xué)的關(guān)系進(jìn)行了分析和探討,主要包括兩個(gè)層面：一是文學(xué)在電影中起著“靈魂”的作用；二是在中國(guó)電影的發(fā)展歷程中,有諸多優(yōu)秀的電影作品都是根據(jù)文學(xué)作品改編而來(lái)的。其次,該部分對(duì)中國(guó)電影的現(xiàn)狀進(jìn)行了分析,指出其發(fā)展中出現(xiàn)的問(wèn)題。最后,文章指出了馮小剛能夠取得觀眾和業(yè)界的認(rèn)可,與他注重劇本的創(chuàng)作以及與當(dāng)代作家的合作是分不開(kāi)的,尤其是他和王朔的合作在中國(guó)電影發(fā)展中更具有象征意義。 正文第一章主要對(duì)王朔作品風(fēng)格與馮小剛電影風(fēng)格的形成進(jìn)行了論述。首先該部分分析了王朔文學(xué)作品中的主要風(fēng)格及形成原因；其次介紹了馮小剛電影風(fēng)格的形成對(duì)王朔作品的順承和轉(zhuǎn)變,主要包括：一是馮小剛電影對(duì)王朔“調(diào)侃幽默”風(fēng)格的順承,將“捧人”、“諷刺”兩種手法運(yùn)用在電影中；二是馮小剛電影對(duì)王朔作品中“糾結(jié)壓抑”風(fēng)格進(jìn)行了選擇性吸收。 正文第二章主要對(duì)王朔作品“頑主”形象與馮小剛電影“北京爺”形象進(jìn)行了探討。首先該部分介紹了王朔文學(xué)作品中“頑主”形象的特點(diǎn)；其次分析了馮小剛電影中“北京爺”的性格特質(zhì)和成因,并探討了從“頑主”到“北京爺”形象發(fā)展的特點(diǎn)及異同。 正文第三章主要對(duì)王朔的創(chuàng)作思想與馮小剛電影創(chuàng)作思想進(jìn)行了分析。該部分首先介紹了王朔作品的創(chuàng)作思想和價(jià)值觀念；其次對(duì)馮小剛電影的創(chuàng)作思想和價(jià)值觀念進(jìn)行了分析,同時(shí)辨析了馮小剛和王朔在創(chuàng)作思想上的異同,指出了馮小剛電影具有“平民性”和“傳奇性”的特點(diǎn)。 結(jié)語(yǔ)部分總結(jié)歸納了論文的主要內(nèi)容,進(jìn)一步指出馮小剛與王朔合作的重要意義,并提出馮小剛與“大師情結(jié)”的探索性話題。本文對(duì)馮小剛與王朔合作的特點(diǎn)和歷程進(jìn)行分析和探討,也是對(duì)文學(xué)元素在電影中的作用和意義的一種解析性探索。
[Abstract]:This paper takes Feng Xiaogang's film and Wang Shuo's literary creation as the research object, and discusses the relationship between the style formation, the character image setting, the creation thought change and Feng Xiaogang's creation. This paper tries to explore the substantive connection between film and literature from the cooperation of Feng Xiaogang and Wang Shuo, and to provide reference for Chinese filmmakers to create excellent film works. This paper is divided into three parts: introduction, text and conclusion, and the text is divided into three chapters. The introduction first analyzes and discusses the relationship between film and literature, including two levels: first, literature plays a "soul" role in film; second, in the development of Chinese film, Many excellent film works are adapted from literary works. Secondly, this part analyzes the current situation of Chinese films and points out the problems in their development. The article points out that Feng Xiaogang can gain the approval of audience and industry, which is inseparable from his attention to the creation of plays and cooperation with contemporary writers, especially his cooperation with Wang Shuo in the development of Chinese films. The first chapter mainly discusses the formation of Wang Shuo's works style and Feng Xiaogang's film style. Firstly, this part analyzes the main style and the reasons for the formation of Wang Shuo's literary works. Secondly, the paper introduces the formation of Feng Xiaogang's film style and its transformation to Wang Shuo's works, mainly including: first, the following two methods are used in the film: the first is the smooth acceptance of the style of "ridicule and humor" of Feng Xiaogang in the film, and the other is the application of "holding people" and "satire" in the film; Second, Feng Xiaogang's film selectively absorbs the style of entanglement and repression in Wang Shuo's works. The second chapter mainly discusses the image of Wang Shuo's works "obstinate owner" and Feng Xiaogang's film "Beijing Ye". Firstly, this part introduces the characteristics of the image of "obstinate subject" in Wang Shuo's literary works. Secondly, it analyzes the characters and causes of Feng Xiaogang's "Beijing Ye", and probes into the characteristics and similarities and differences of the image development from "stubborn Master" to "Beijing Ye". The third chapter mainly analyzes Wang Shuo's creative thought and Feng Xiaogang's film creation thought. Secondly, the author analyzes Feng Xiaogang's creative thoughts and values, and points out the similarities and differences between Feng Xiaogang and Wang Shuo in their creative thoughts, and points out the characteristics of "populace" and "legend" in the films. The conclusion summarizes the main contents of the paper and further points out the significance of the cooperation between Feng Xiaogang and Wang Shuo. This paper analyzes and discusses the characteristics and the course of the cooperation between Feng Xiaogang and Wang Shuo, and it is also an analytical exploration of the role and significance of literary elements in the film.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：I206.7;J905

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