從話劇《野玫瑰》到電影《天字第一號(hào)》——中國(guó)間諜電影的類型生成及余脈追尋
發(fā)布時(shí)間：2019-08-16 19:41
【摘要】：1946年底,根據(jù)話劇《野玫瑰》改編而成的電影《天字第一號(hào)》,成為引領(lǐng)戰(zhàn)后中國(guó)間諜電影攝制熱潮的標(biāo)桿之作。打入模式、身份置換、人物對(duì)話、誤會(huì)、離間橋段以及三角人物關(guān)系等諸多類型元素,都被隨后的間諜電影所直接復(fù)制效仿。不僅如此,1949年之后的中國(guó)電影中,《天字第一號(hào)》的類型余脈依然延續(xù)。可以說,《天字第一號(hào)》儼然成為一個(gè)不斷衍生和再造的"超級(jí)文本"。
[Abstract]:At the end of 1946, the film Tianzi No. 1, adapted from the play Wild Rose, became the benchmark for leading the production craze of Chinese spy films after the war. Many types of elements, such as break-in mode, identity replacement, character dialogue, misunderstanding, alienation bridge and triangular character relationship, were copied and emulated directly by subsequent espionage films. Not only that, in Chinese films after 1949, the type of Tianzi No. 1 continues. It can be said that the first word of Heaven has become a continuous derivation and reconstruction of the "hypertext."
【作者單位】： 福建師范大學(xué)傳播學(xué)院;
【分類號(hào)】：J905
，
本文編號(hào)：2527617
[Abstract]:At the end of 1946, the film Tianzi No. 1, adapted from the play Wild Rose, became the benchmark for leading the production craze of Chinese spy films after the war. Many types of elements, such as break-in mode, identity replacement, character dialogue, misunderstanding, alienation bridge and triangular character relationship, were copied and emulated directly by subsequent espionage films. Not only that, in Chinese films after 1949, the type of Tianzi No. 1 continues. It can be said that the first word of Heaven has become a continuous derivation and reconstruction of the "hypertext."
【作者單位】： 福建師范大學(xué)傳播學(xué)院;
【分類號(hào)】：J905
，
本文編號(hào)：2527617
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