本文選題：《西游記》　切入點(diǎn)：女性形象　出處：《廈門理工學(xué)院學(xué)報(bào)》2016年02期

【摘要】：作為20世紀(jì)60年代香港"西游記"題材電影的重要作品,由邵氏兄弟(香港)有限公司投資拍攝的《西游記》《鐵扇公主》《盤絲洞》《女兒國》四部影片,通過原著女性形象反面色彩的強(qiáng)化、女性形象官能意味的含蓄性表述投射出深受傳統(tǒng)文化影響的影片主創(chuàng)者對于女性"禍水"觀的承襲,并折射出當(dāng)時香港電影藝術(shù)家對于《西游記》這部古典小說名著的獨(dú)特理解與影像詮釋。這種電影創(chuàng)作實(shí)踐,證明了古典名著的人物影像化重塑乃至整體改編只有實(shí)現(xiàn)藝術(shù)訴求與商業(yè)票房、忠實(shí)原著與改編創(chuàng)新的雙向平衡,才能更好地普及古典名著,弘揚(yáng)傳統(tǒng)文化。
[Abstract]:As an important work of Hong Kong's "Journey to the West" film in the 1960s, "Journey to the West", "Princess Iron Fan" "Pan Silk Cave", made by Shaw Brothers (Hong Kong) Co., Ltd., has four films.Through the strengthening of the negative color of the original female image, the implicative expression of the female image's functional meaning projects the inheritance of the female "disaster water" view by the film creators deeply influenced by the traditional culture.It also reflects Hong Kong film artists' unique understanding and image interpretation of the classic novel Journey to the West.This kind of film creation practice has proved that the remolding and even the overall adaptation of classical masterpieces can better popularize classical masterpieces only by realizing the two-way balance between artistic appeal and commercial box office, faithful original work and adaptation innovation.Carry forward traditional culture.
【作者單位】： 山東師范大學(xué)文學(xué)院;
【分類號】：J905
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本文編號：1702415