本文選題：《米》　切入點(diǎn)：改編　出處：《電影文學(xué)》2017年09期

【摘要】：黃健中導(dǎo)演的《大鴻米店》改編自蘇童的長篇小說《米》,影片整體上與作品的風(fēng)格相符,展現(xiàn)了人性中陰暗的一面,給人帶來濃重的壓抑感。但是電影在地理空間、精神內(nèi)核和人文訴求方面,均沒有達(dá)到原著的高度:空間上有所缺失,未能展現(xiàn)主人公五龍從農(nóng)村到城市再回到農(nóng)村的生活軌跡;精神內(nèi)核方面,對于精神的建構(gòu)存在片面性,將"惡"等同于"仇恨";人文訴求過于淺顯,對于觀眾的審美心理有待進(jìn)一步引導(dǎo)與提升。
[Abstract]:Huang Jianzhong's "Dahongmidian" is adapted from Su Tong's novel "rice". The film is in line with the style of the work as a whole, showing the dark side of human nature and bringing people a heavy sense of repression. But the film is in geographical space. In the aspect of spiritual core and humanism demand, they have not reached the original height: there is a lack of space to show the life track of the protagonist Wulong from the countryside to the city and back to the countryside, and in the spiritual core, there is a one-sidedness to the construction of the spirit. "evil" is equated with "hatred"; the humanistic appeal is too simple, and the aesthetic psychology of the audience needs to be further guided and promoted.
【作者單位】： 宿遷學(xué)院;
【分類號】：J905;I207.42
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本文編號：1675410