本文選題：陳凱歌　切入點：文學(xué)　出處：《山東大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：關(guān)于文學(xué)和電影兩種藝術(shù)門類之間的比較研究一直是學(xué)術(shù)界關(guān)注的焦點,電影改編理論的探索也從未停息。陳凱歌是“第五代”電影導(dǎo)演之一,也是中國電影導(dǎo)演翹楚,他改編自文學(xué)作品的影片成就尤其卓越。但目前看來,針對陳凱歌的電影改編研究專論成果并不多。運用相關(guān)理論支撐對陳氏電影改編實踐進行研究分析,歸納總結(jié)其改編方式及特點,提供電影改編新思路,目前看來是一個空缺,也是本論文的選題初衷。 “第五代”導(dǎo)演群體的創(chuàng)作實踐極大促進了中國電影語言的革新,他們關(guān)注民族文化、注重歷史反思,作為這個團體中的一員,陳氏也不例外。除卻保持“第五代”電影人的共性特征之外,陳氏的個人特質(zhì)也為其創(chuàng)作打上獨特的個人風(fēng)格烙印。論文第一章則介紹陳凱歌導(dǎo)演所屬的“第五代”導(dǎo)演群體特征以及陳導(dǎo)個人特質(zhì),并綜述陳凱歌的電影改編實踐。 基于內(nèi)部研究的思路,利用文本細讀的方法,在第二章中,本論文對陳氏五部改編影片及文學(xué)原作一一進行比較分析。此章按照陳氏的創(chuàng)作時間和所選文學(xué)文體分為三節(jié),對每部作品的分析都抓取其獨特改編模式：《黃土地》改編自散文作品,對其分析思路側(cè)重于電影與小說的美學(xué)轉(zhuǎn)換；《孩子王》和《邊走邊唱》均改編自中短篇小說作品,則選取敘事分析作為主要思路；針對改編自長篇作品的《霸王別姬》和《風(fēng)月》兩部影片,則主要探討主題上的轉(zhuǎn)換。 第三章轉(zhuǎn)向電影與文學(xué)的外部比較分析,轉(zhuǎn)向陳氏作品的抒情性研究、文化研究等方面,提取陳凱歌改編實踐的共性特征。陳氏實踐涉及小說、散文等不同文體的電影轉(zhuǎn)換,陳氏對不同文體作品的處理關(guān)鍵就在于挖掘不同文學(xué)體裁中共同具備的敘事性,進而并做到敘事性與抒情性并舉。陳氏自由采用蒙太奇鏡頭剪輯、特寫、音樂等多種電影語言手段完成文學(xué)至影片的抒情方式的轉(zhuǎn)換。陳氏影片還對文學(xué)原作進行文化改寫,尤其集中在歷史建構(gòu)和民族特色兩方面。進入上世紀(jì)90年代,中國電影回歸大眾文化的本質(zhì),注重娛樂性和商業(yè)性的土壤不再是藝術(shù)電影的搖籃,但陳氏的改編影片依舊試圖保持文學(xué)般的精英意識,其將文學(xué)性和電影商業(yè)性有機結(jié)合的藝術(shù)探索是值得肯定的。 結(jié)語部分歸納總結(jié)了陳凱歌電影改編實踐堅持美學(xué)轉(zhuǎn)換以及文本再闡釋的個人認(rèn)知和時代意義,對電影改編理論和以后的電影改編實踐都具有啟發(fā)意義。
[Abstract]:The comparative study of literature and film has always been the focus of academic attention, and the exploration of film adaptation theory has never stopped. Chen Kaige is one of the "fifth generation" film directors, and is also the leading film director in China. His film adaptation from literary works is particularly successful. However, it seems that there are not many achievements in the film adaptation study of Chen Kaige. Using relevant theories to support the research and analysis of Chen's film adaptation practice, Summary of its adaptation methods and characteristics, provide a new way of film adaptation, it seems to be a vacancy, but also the original intention of this paper. The creative practice of the group of directors of the "Fifth Generation" greatly promoted the innovation of Chinese film language. They paid attention to the national culture and historical reflection, as a member of this group. Chen is no exception. Apart from maintaining the common features of the "fifth generation" filmmakers, The first chapter introduces the group characteristics of the "Fifth Generation" directors belonging to Chen Kaige and Chen's personal characteristics, and summarizes the film adaptation practice of Chen Kaige. Based on the thought of internal research, this paper makes a comparative analysis of Chen's five adapted films and original literary works in the second chapter by using the method of text reading. This chapter is divided into three sections according to the time of Chen's creation and the selected literary style. The analysis of each work grabs its unique adaptation mode: "Yellow Earth" is adapted from prose works, and its analytical thinking is focused on the aesthetic transformation between movies and novels, while "Children's King" and "singing while walking" are both adapted from short and medium-sized novels. Then the narrative analysis is chosen as the main train of thought, and the conversion of the theme of the two films, "Farewell to my Concubine" and "Wind Moon", which is adapted from the long works, is mainly discussed. The third chapter turns to the external comparative analysis of film and literature, to the lyric study and cultural study of Chen's works, and to the common features of Chen Kaige's adaptation practice. Chen's practice involves the film conversion of different styles, such as novels, prose, etc. The key to Chen's handling of different literary works is to dig out the common narrative in different literary genres, and to achieve both narrative and lyricism. Music and other means of film language to complete the conversion of the lyrical way from literature to film. Chen's film also carried out cultural rewriting of the original literary work, especially focusing on the historical construction and national characteristics. In -10s, Chinese films return to the essence of popular culture, and the soil of attention to entertainment and commerce is no longer the cradle of art films, but Chen's adapted films still try to maintain the literary sense of the elite. The artistic exploration which combines literature and film commercial is worthy of recognition. The conclusion summarizes the personal cognition and epochal significance of Chen Kaige's film adaptation practice of adhering to aesthetic transformation and reinterpreting the text, which is instructive to both the theory of film adaptation and the practice of film adaptation in the future.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905;I206.7

【參考文獻】

相關(guān)期刊論文 前5條

1 王志敏;第五代電影對中國電影的主要貢獻[J];當(dāng)代電影;2005年03期

2 張駿祥;;用電影表現(xiàn)手段完成的文學(xué)(根據(jù)國慶三十周年獻禮片第二次導(dǎo)演總結(jié)學(xué)習(xí)會上的發(fā)言整理)[J];電影通訊;1980年11期

3 李奕明;;非敘事性的結(jié)構(gòu)特點[J];電影藝術(shù);1988年02期

4 孟悅;;剝露的原生世界——陳凱歌淺論[J];電影藝術(shù);1990年04期

5 梁娟;;論李碧華《霸王別姬》的雙重改編[J];山西師大學(xué)報(社會科學(xué)版);2010年06期

，

本文編號：1629274