【摘要】：從蘇童小說(shuō)目前的改編情況來(lái)看,由其小說(shuō)改編而成的電影作品無(wú)論是數(shù)量還是質(zhì)量在先鋒作家乃至整個(gè)當(dāng)代作家中都較為突出。對(duì)于這種并不常見的現(xiàn)象,筆者通過(guò)對(duì)其小說(shuō)的文本細(xì)讀,發(fā)現(xiàn)蘇童小說(shuō)與電影藝術(shù)之間存在著明顯的同構(gòu)關(guān)系。換言之,蘇童小說(shuō)具有鮮明的電影化特征。筆者認(rèn)為這也正是其小說(shuō)得以頻繁進(jìn)入電影改編視野并被成功改編的重要前提。盡管如此,小說(shuō)和電影作為兩種使用不同媒介,有著兩種不同“看”的方式的不同藝術(shù),所以在后者對(duì)前者的改編過(guò)程中必然伴隨著多方面的變化。同時(shí),改編作為小說(shuō)與電影兩種藝術(shù)間的互介活動(dòng),尊重原著精神與保持自身獨(dú)立性是相互統(tǒng)一的。因此,對(duì)電影藝術(shù)自身特殊性的研究同樣不能被忽視。故,本文以蘇童被改編為電影的八部小說(shuō)及其相應(yīng)的七部電影作品為研究對(duì)象,分別從改編前提、改編過(guò)程和改編作品三個(gè)方面展開研究。首先,本文立足于對(duì)蘇童這八部小說(shuō)的文本細(xì)讀,分別從敘事內(nèi)容的故事性、敘事結(jié)構(gòu)的跳躍性和敘事手法的鏡頭化三個(gè)角度分析其小說(shuō)的電影化特征,即從文學(xué)內(nèi)部研究分析蘇童文本自身所具備的改編條件。其次,本文將小說(shuō)與電影進(jìn)行對(duì)比研究,分別從敘事主題、人物塑造和情節(jié)結(jié)構(gòu)三個(gè)方面闡釋小說(shuō)敘事向電影敘事的“轉(zhuǎn)譯”過(guò)程中所發(fā)生的變化,從而反向建構(gòu)其小說(shuō)到電影的改編過(guò)程。最后,本文從電影本體論出發(fā),以改編自蘇童小說(shuō)的七部電影作品為對(duì)象,分別從流暢有序的影像語(yǔ)法和異彩紛呈的影像修辭兩個(gè)方面切入對(duì)其風(fēng)格各異、多彩多樣的視聽語(yǔ)言的分析。回眸歷史,蘇童絕不是第一個(gè)“觸電”的作家;放眼當(dāng)下,蘇童也絕不會(huì)是最后一個(gè)與電影“親密接觸”的作家。那么,文學(xué)與影視、作家與導(dǎo)演如此頻繁而近距離的接觸是互惠互利的“雙贏”還是弊大于利的“互損”?蘇童小說(shuō)的電影改編活動(dòng)不僅對(duì)此做出了肯定性的回答,而且進(jìn)行了一次較為成功的示范。
[Abstract]:Judging from the current adaptation of Su Tong's novels, the number and quality of films adapted from his novels are prominent among the pioneer writers and even the contemporary writers as a whole. For this unusual phenomenon, the author finds that there is an obvious isomorphism between Su Tong's novels and film art by reading the texts of his novels. In other words, Su Tong's novels have distinctive film features. The author thinks that this is the important premise for his novels to frequently enter the field of film adaptation and be adapted successfully. Nevertheless, novels and movies, as two different media, have two different ways of "watching" different arts, so in the latter adaptation process of the former must be accompanied by various changes. At the same time, adaptation, as a mutual activity between novel and film, respects the spirit of the original work and maintains its own independence. Therefore, the study of the particularity of film art itself can not be ignored. Therefore, this article takes eight novels and seven corresponding works of film adapted by Su Tong as the research object, respectively from three aspects of the adaptation premise, the adaptation process and the adaptation works. First of all, based on the detailed reading of Su Tong's eight novels, this paper analyzes the film features of Su Tong's novels from three angles: the narrative content, the jumping of the narrative structure and the lens of the narrative techniques. Namely, from the literature internal research and analysis Su Tong's text itself has the adaptation condition. Secondly, this paper makes a comparative study of the novel and the film, respectively, from three aspects of narrative theme, character shaping and plot structure, to explain the changes that have taken place in the process of "translation" from novel narration to film narrative. In order to reverse the construction of its novel to the film adaptation process. Finally, from the perspective of film ontology, this paper takes seven film works adapted from Su Tong's novels as the objects, respectively from the aspects of smooth and orderly image grammar and colorful image rhetoric. Analysis of colorful and diverse audiovisual languages. Looking back at history, Su Tong is by no means the first writer to be "shocked". At the moment, Su Tong will never be the last writer to be in close touch with the film. So, literature, film and television, writers and directors of such frequent and close contact is mutually beneficial "win-win" or the harm more than good "damage"? Su Tong's film adaptation not only gave a positive answer, but also made a more successful demonstration.
【學(xué)位授予單位】：江西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.42;J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 吳智斌;;先鋒作家的意象化敘事策略:基于蘇童小說(shuō)的考察[J];社科縱橫;2010年03期

2 顧曉紅;;當(dāng)代小說(shuō)創(chuàng)作影視化的原因淺析[J];新聞愛好者;2009年24期

3 顧曉紅;;關(guān)于當(dāng)代小說(shuō)創(chuàng)作的思考——論影視影響下的創(chuàng)作主體和小說(shuō)主題[J];長(zhǎng)春理工大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2009年01期

4 汪政;;蘇童:一個(gè)人與幾組詞[J];海南師范學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2006年03期

5 蘇童 ,張學(xué)昕;回憶·想象·敘述·寫作的發(fā)生[J];當(dāng)代作家評(píng)論;2005年06期

6 付明根;試論當(dāng)代小說(shuō)的影像化創(chuàng)作傾向[J];文藝評(píng)論;2005年03期

7 徐正龍;蘇童的影像世界[J];電影藝術(shù);2005年03期

8 侯詠 ,陳寶光;《茉莉花開》真誠(chéng)關(guān)注女性[J];電影藝術(shù);2004年05期

9 張江元;論張愛玲小說(shuō)的電影手法[J];涪陵師范學(xué)院學(xué)報(bào);2004年04期

10 黃發(fā)有;掛小說(shuō)的羊頭 賣劇本的狗肉——影視時(shí)代的小說(shuō)危機(jī)(下)[J];文藝爭(zhēng)鳴;2004年02期

相關(guān)重要報(bào)紙文章 前1條

1 朱向前;;文學(xué)影視化的利與弊[N];人民日?qǐng)?bào);2010年

相關(guān)博士學(xué)位論文 前1條

1 孫晶;跨越文字與影像的疆界[D];吉林大學(xué);2011年

相關(guān)碩士學(xué)位論文 前3條

1 朱悅;李安電影敘事綜論[D];江西師范大學(xué);2016年

2 顧曉紅;論當(dāng)代小說(shuō)創(chuàng)作的影視化傾向[D];南京師范大學(xué);2008年

3 高姿英;論世紀(jì)之交文學(xué)影像化敘事潮[D];武漢大學(xué);2004年

，

本文編號(hào)：2220610