發(fā)布時(shí)間：2018-06-26 01:44

  本文選題：革命歷史題材文學(xué)作品 + 人物形象��； 參考：《河南師范大學(xué)》2013年碩士論文

【摘要】：文學(xué)作品和影視劇在敘事方面有著“天生”的美學(xué)互通性，由此奠定了文學(xué)作品的影視改編藝術(shù)發(fā)生學(xué)基礎(chǔ)。由文學(xué)作品改編的影視作品，也就是改編者從當(dāng)代的視角對(duì)已成為“歷史”的文學(xué)作品進(jìn)行一次全新的“演繹”，由此完成的影視作品或多或少都會(huì)留下改編時(shí)代的印記，同時(shí)也體現(xiàn)出當(dāng)下的時(shí)代精神和現(xiàn)代人的審美情趣。革命歷史題材文學(xué)作品是當(dāng)代意識(shí)形態(tài)生產(chǎn)的一個(gè)主要領(lǐng)域和主要收獲，順理成章的受到了影視劇改編者的青睞。本論文以當(dāng)代革命歷史題材文學(xué)作品改編的影視劇為研究對(duì)象，重點(diǎn)對(duì)這類(lèi)題材影視作品中的人物形象和塑造模式及其演變進(jìn)行梳理，總結(jié)其人物塑造特征和基本方式，探究人物形象塑造模式嬗變的深層文化含義，并對(duì)當(dāng)代革命歷史題材文學(xué)作品中人物形象影視改編所存在的問(wèn)題進(jìn)行反思，以期對(duì)未來(lái)同類(lèi)題材人物形象塑造的影視改編提供有益的借鑒。 通過(guò)對(duì)革命歷史題材文學(xué)作品影視改編的梳理可以發(fā)現(xiàn)，革命歷史題材文學(xué)作品的影視改編幾乎都集中出現(xiàn)在20世紀(jì)80—90年代，原因在于：第一，處在跨世紀(jì)的特定歷史時(shí)期，人們滋生出的懷舊情緒；同時(shí)，社會(huì)的轉(zhuǎn)型期也誘發(fā)了人們對(duì)往昔歲月的懷念，為革命歷史題材文學(xué)作品的影視改編提供了歷史語(yǔ)境及生存的土壤。第二，革命歷史題材文學(xué)作品所表達(dá)的對(duì)共產(chǎn)主義的向往和堅(jiān)定的信念，，切合了國(guó)家文化復(fù)興潛在意識(shí)形態(tài)的需要以及市場(chǎng)的召喚。 在革命歷史題材文學(xué)作品的影視改編中，最重要的是要做到人物形象真實(shí)可信，具體到文本中，既突出人物的個(gè)性化又不能隱藏人物生活中的真實(shí)性。在人物形象塑造原則上，開(kāi)始出現(xiàn)表現(xiàn)“后革命”語(yǔ)境與“躲避崇高”的娛樂(lè)化姿態(tài)。革命敘事也經(jīng)歷了一個(gè)不斷進(jìn)行命名與區(qū)分的歷程，在感性和理性的矛盾中追求對(duì)立的融合。 最后是對(duì)革命歷史題材文學(xué)作品人物形象影視改編的思考和總結(jié)，藝術(shù)來(lái)源于生活，但是畢竟要高于生活，所以在革命歷史題材影視人物塑造上，在創(chuàng)作革命人物時(shí)，既要避免高大全的扁形人物形象，也要適當(dāng)?shù)膶?duì)英雄進(jìn)行美化，力求達(dá)到真實(shí)的藝術(shù)感染力。
[Abstract]:Literature works and movies and TV dramas have a "natural" aesthetic intercommunion in narrative aspect, thus laying the foundation of film and television adaptation art genesis of literary works. The film and television works adapted from the literary works, that is, the adapters perform a new "deduction" on the literary works that have become "history" from a contemporary perspective, and the film and television works thus completed will more or less leave the imprint of the adapted times. At the same time, it also reflects the spirit of the times and the aesthetic interest of modern people. Revolutionary historical literary works is a main field and main harvest of contemporary ideology production, which is naturally favored by film and TV drama editors. This thesis takes the film and TV drama adapted from the contemporary revolutionary historical literature as the research object, mainly combs the character image and the moulding mode and their evolution in the film and television works of this kind of subject matter, summarizes its character shaping characteristic and the basic way. This paper probes into the profound cultural meaning of the evolution of the mode of shaping the characters' image, and reflects on the problems existing in the adaptation of the characters' images and films in the literary works of contemporary revolutionary historical themes. In order to provide a useful reference for the future of the same theme characters image-shaping film and television adaptation. Through combing the adaptation of revolutionary historical literature works, we can find that almost all of the film and television adaptations of revolutionary historical literature works appeared in the 80-90 's of the 20th century. The reasons are as follows: first, In the special historical period of the cross-century, people have developed nostalgia. At the same time, the period of social transformation has also evoked people's nostalgia for the past years. It provides the historical context and survival soil for the film and television adaptation of revolutionary historical literary works. Secondly, the yearning for communism and the firm belief expressed in the revolutionary historical literature accord with the need of the latent ideology of national cultural rejuvenation and the call of the market. In the film and television adaptation of revolutionary historical literary works, the most important thing is to make the characters true and credible. In the text, it can not hide the authenticity of the characters' life, but also highlight the personalization of the characters. In the principle of persona-shaping, the postrevolutionary context and the entertainment posture of "avoiding sublimity" began to appear. Revolutionary narration has also experienced a process of naming and distinguishing constantly, pursuing opposites in the contradiction between sensibility and reason. Finally, it is the reflection and summary of the adaptation of the figures, images and films in the literary works of revolutionary history. Art originates from life, but after all, it is higher than life. Therefore, when it comes to the creation of revolutionary figures in the film and television of revolutionary historical subjects, Not only to avoid the tall and complete flat figure image, but also to properly beautify the hero, and strive to achieve real artistic appeal.
【學(xué)位授予單位】：河南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：I206.7;J905

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