發(fā)布時間：2018-04-15 20:03

  本文選題：性別視角 + 宮尾登美子　； 參考：《山東藝術(shù)學(xué)院》2017年碩士論文

【摘要】：作為各自獨立的藝術(shù),電影和文學(xué)有著相異的表達(dá)系統(tǒng)和藝術(shù)語言,但二者之間也存在著密不可分的關(guān)系。對于電影來說,文學(xué)作品是電影劇本的一個重要來源,其廣泛的題材為電影的創(chuàng)作注入新的活力;而對于文學(xué)來說,通過改編與影視進(jìn)行有機(jī)的融合,電影的廣泛表現(xiàn)范圍在文學(xué)的表意功能基礎(chǔ)上提供了更多的可能性。改編是電影與文學(xué)的一個交點,在彼此交融互通、各取所需的探索上,不僅為文學(xué)的接受和傳播拓寬了道路,也使電影擴(kuò)大了市場效應(yīng)和影響。同時,作為一個美學(xué)轉(zhuǎn)換的過程,改編是富于個性和創(chuàng)造性的勞動,改編而成的電影可以說已經(jīng)是獨立于原作的藝術(shù)產(chǎn)品了,由于改編者對原作的理解、藝術(shù)感覺的不同,加之社會背景和文化環(huán)境的變化,改編的電影作品也呈現(xiàn)出千姿百態(tài)的樣貌。宮尾登美子作為日本著名的大眾文學(xué)作家,致力于女性題材小說的創(chuàng)作。她早期的作品以身世背景為藍(lán)本,深刻描寫藝妓風(fēng)華、風(fēng)塵男女與夫妻情義;之后深入日本傳統(tǒng)藝能世界,圍繞在日本風(fēng)土中長大,而有所思、有所為的女人,細(xì)膩詮釋日本人文之美。其作品屢獲日本文壇大獎,幾乎每一部都被改編為電視、電影或舞臺劇,并且改編的電影也多次斬獲各類獎項。宮尾的小說以女性為主,具有濃厚的女性意識,但是在其作品改編的電影中,原作蘊(yùn)含的女性主體意識發(fā)生了不同程度的稀釋、改寫、置換、流失。本文關(guān)注改編過程中這種具有性別文化意味變化的具體表現(xiàn),并試圖探究其背后的社會文化原因。本論文共分為五部分。緒論部分,主要介紹了宮尾登美子的基本創(chuàng)作信息、研究現(xiàn)狀,以及其作品電影改編的情況。第一章,概述戰(zhàn)后日本女性文學(xué)的背景,分析宮尾登美子的作品與女性意識。第二章,通過對宮尾作品電影化的時代背景與特點分析,為接下來的小說與改編電影的具體對比分析作鋪墊。第三章,從性別視角切入電影改編,對宮尾登美子作品改編的電影進(jìn)行文本細(xì)讀,運(yùn)用女性主義文論和女性主義電影理論,從情節(jié)敘事、人物形象、主題思想、視聽語言方面,對比小說和電影在性別視角下的差異呈現(xiàn),以及小說中的女性意識在電影改編過程中的變化。第四章,主要從媒介差異、創(chuàng)作主體、時代氛圍、利益訴求等幾個方面,分析電影改編過程中女性意識的變化出現(xiàn)的原因。
[Abstract]:As an independent art, film and literature have different systems of expression and artistic language, but there is also an inseparable relationship between them.For movies, literary works are an important source of screenplays, and their wide range of subjects infuse new vitality into the creation of films; for literature, adaptation and film and television are integrated organically.The wide range of films offers more possibilities on the basis of literary ideographic functions.Adaptation is an intersection of film and literature. In the exploration of intercommunion and intercommunion, adaptation not only broadens the road for the acceptance and dissemination of literature, but also enlarges the market effect and influence of film.At the same time, as a process of aesthetic transformation, adaptation is a work of individuality and creativity. The adapted film can be said to be an art product independent of the original work. Because of the understanding of the original work by the editor, the artistic feeling is different.In addition, the social background and cultural environment changes, the adaptation of the film also presents a variety of features.Miko Miko Miyako, a famous Japanese popular literary writer, devoted herself to the creation of female novels.Her early works, based on her background, depict the beauty of geisha, the love of men and women, and husband and wife. Later, she goes deep into the world of traditional Japanese art, growing up in Japan, and women who think and do something.Exquisite interpretation of the beauty of the Japanese humanities.His works have won Japanese literary awards, almost every one has been adapted into television, film or stage play, and the adaptation of the film has won various awards.Miyako's novels are mainly female and have a strong female consciousness, but in the adaptation of his works, the female subject consciousness contained in the original works has been diluted, rewritten, replaced and lost to varying degrees.This paper focuses on the concrete manifestation of the change of gender cultural meaning in the process of adaptation, and attempts to explore the social and cultural reasons behind it.This paper is divided into five parts.Introduction, mainly introduces Miko Miko's basic creative information, research status, as well as the adaptation of his works.The first chapter summarizes the background of postwar Japanese female literature and analyzes Miko Miko's works and female consciousness.In the second chapter, through the analysis of the background and characteristics of the Movie of Miyagi's works, it lays the groundwork for the concrete contrast analysis between the following novels and the adapted films.The third chapter, from the gender perspective into the film adaptation, Miko Miko Miko's adaptation of the text of the text, using feminist literary theory and feminist film theory, from the plot narrative, character image, theme, audio-visual language,The differences between novel and film in gender perspective and the change of female consciousness in the process of film adaptation are compared.The fourth chapter, mainly from the media differences, creative subjects, the atmosphere of the times, interest demands and other aspects, analyzes the changes in the process of film adaptation of the reasons for female consciousness.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J904;I313.074

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