本文選題：《許茂和他的女兒們》　切入點(diǎn)：王炎　出處：《西南大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：在中國電影百余年的歷史長河中,電影與文學(xué)的淵源頗深,從兩者相識的第一天起就結(jié)下了不解之緣,因為改編小說而讓電影成名的事例不少,當(dāng)然因為改編同一部文學(xué)作品而讓導(dǎo)演乃至電影制片公司反目成仇的事例也偶有發(fā)生。上世紀(jì)二三十年代的“《啼笑因緣》雙胞案”便是“撞車公案”的第一樁。新中國成立后,更是發(fā)生了兩大國營電影制片廠北影、八一同時改編同一部文學(xué)作品同年拍攝的罕見“撞車事件”。 談?wù)撈疬@一“撞車事件”,不得不談到《許茂和他的女兒們》這部四川小說,作為傷痕文學(xué)與農(nóng)村題材的代表作,這部作品不僅榮膺首屆茅盾文學(xué)獎,而且位列榜首。正是由于原著小說的優(yōu)秀引起了新中國兩大電影制片廠的爭拍,不同的藝術(shù)追求使得兩部影片的風(fēng)格迥異,一直想塑造在“文革”中沒有絕望并執(zhí)著追求美好生活的普通人的北影廠導(dǎo)演王炎,忠實(shí)原著,以四姑娘許秀云為中心人物進(jìn)行改編。而在銀幕上塑造農(nóng)民形象是八一廠李俊導(dǎo)演久埋心中的情結(jié)。所以李俊導(dǎo)演版的《許茂和他的女兒們》在改編過程中進(jìn)行了大幅度的改動,以許茂老漢這一典型農(nóng)民為主角,敘述了他是如何從一個“愛社如家”的好農(nóng)民變成自私、狹隘的“油老頭”。兩位導(dǎo)演選擇從不同角度來重釋經(jīng)典,《許茂和他的女兒們》并蒂開出姐妹花,各有風(fēng)采。 本文重新回顧中國電影史上的這一件罕事,探究由一部作品引發(fā)的兩種改編,通過文本細(xì)讀法對原作小說和兩個版本電影《許茂和他的女兒們》的改編進(jìn)行對比與解讀,闡述小說敘事是如何轉(zhuǎn)化為電影敘事的,進(jìn)而總結(jié)出兩部電影改編的不同以及關(guān)于文學(xué)改編為電影是否忠實(shí)于原著和改編過程中創(chuàng)作者自動差別的思考。小說和電影兩種藝術(shù)的不同以及兩位導(dǎo)演不同的創(chuàng)作理念決定了小說和兩個版本電影《許茂和他的女兒們》各有其獨(dú)具個性之處。
[Abstract]:In the long history of more than one hundred years of Chinese film, the origin of film and literature is very deep. Since the first day of their acquaintance, they have formed an inextricable bond. There are many examples of making the film famous because of the adaptation of the novel. Of course, there are occasional instances in which directors and even film studios turn into enemies because of the adaptation of the same literary work. In the 1920s and 1930s, the "Crow and laugh because of fate" case was the first one in the "car crash case." after the founding of New China, Two major state-run film studios, Bei, adapted the same literature at the same time and shot a rare "car crash" in the same year. When we talk about this "car crash," we have to talk about Xu Mao and his daughters. This Sichuan novel, as a masterpiece of scar literature and rural themes, not only won the first Mao Dun Prize for Literature, And topped the list. It was the excellence of the original novel that caused the two major studios in New China to compete for the film, and different artistic pursuits made the two films very different in style. Wang Yan, the director of the North Studios who has been trying to shape the ordinary people who were not desperate in the "Cultural Revolution" and who persevered in the pursuit of a better life, is faithful to the original work. Take four girls Xu Xiuyun as the center character to carry on the adaptation. And on the screen portrays the farmer image is the Bayi factory director Li Jun long buried the complex. Therefore, Li Jun director edition "Xu Mao and his daughters" in the adaptation process carries on. With significant changes, Taking Xu Mao, a typical peasant, as the protagonist, he described how he had changed from a good farmer who loved the society to a selfish one. The two directors choose to reinterpret the classic from different angles, Xu Mao and his daughters. This paper reviews this rare event in the history of Chinese film, explores the two adaptations initiated by one work, and compares and interprets the adaptation of the original novel and the two versions of Xu Mao and his daughters through a detailed reading of the text. How the narrative of the novel is transformed into the narrative of the film, Then it sums up the differences between the adaptation of the two films and the reflection on whether the literary adaptation is faithful to the original work and the automatic difference between the creators in the process of adaptation. The difference between the two kinds of art in the novel and the film and the difference between the two directors. The idea of creation determines that the novel and the two versions of the film Xu Mao and his daughters have their own unique characteristics.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

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