【摘要】： 本文意欲在影像化的大背景下,對影像時代的小說進行分類比較,闡述從小說到影視作品的美學訴求,探尋小說影像化的原因。 全文約三萬七千余字,除引言和結語外,主體部分共分四章。 引言部分簡述了小說“影像化”產(chǎn)生的時代背景,綜合評述了小說“影像化”的研究現(xiàn)狀,指出了本文的研究內(nèi)容及論證方法。 第一章通過梳理小說與影視結緣的歷史軌跡來論述二者相互影響的表現(xiàn)。一方面小說為影視劇提供了多方面的營養(yǎng),加速了影視劇的藝術化進程。另一方面,影視劇促使小說進行系統(tǒng)調(diào)整,“影視化”已成為當代小說的新景觀。 第二章以影像時代為背景,依據(jù)小說與影視的關系對其進行大致分類,展示影像時代的小說圖景。這其中既有被改編成影視劇的小說,也有根據(jù)影視作品改編成的小說,還有與“影像化”格格不入,形成對峙的小說。 第三章闡釋了從小說到影視作品的美學追求,這種美學追求實際上就是在影視思維的統(tǒng)領之下,運用影視手段對小說原作的風格特征和內(nèi)在精神氣質(zhì)的重新把握,通過對小說中可視化元素的提取和錘煉,在提純原作中“小說能量”的前提下,運用強有力的視覺形象,對小說進行“影像化”改造。 第四章分別從當下時代的文化背景、創(chuàng)作主體和受眾三個方面探討了小說“影像化”現(xiàn)象的成因,具體表現(xiàn)為:視覺文化時代的來臨、作家受“名和利”的誘惑以及欣賞者對“讀和看”的不同需求。 結語認為影視需要小說,小說也需要影視。影視為小說提供了展示其風采的舞臺;小說以其獨具的審美方式,積極地作用于影視藝術的審美活動。這種二元并生、互動的藝術格局既說明了現(xiàn)在,并能昭示將來。
[Abstract]:This article is intended to make a comparison of the novels of the age of image in the background of the image, and to explain the aesthetic appeal of the novels from the novels to the film and television works, and to explore the reasons for the image of the novel.
The text is about 37000 words. Besides the introduction and conclusion, the main body is divided into four chapters.
The introduction gives a brief account of the background of the generation of the novel "imaging", reviews the current research status of the "image" of the novel, and points out the research content and the method of demonstration.
The first chapter deals with the mutual influence of the two parties by combing the historical track of the relationship between the novel and the film and television. On the one hand, the novel provides many aspects of the nutrition for the film and television dramas, and accelerates the artistic process of the film and TV drama. On the other hand, the film and TV play has promoted the systematic adjustment of the novel, and the "film and television" has become the new landscape of the contemporary novel.
The second chapter, based on the background of the image age, gives a general classification of the relationship between the novel and the film and television, showing the picture of the age of the image, which includes both the novels adapted into the film and television dramas, the novels adapted from the film and television works, and the confrontation with the "image" grid.
The third chapter explains the aesthetic pursuit of the novel to the film and television works. This aesthetic pursuit is in fact a new grasp of the style and inner spirit of the original works by film and television means under the guidance of the thought of film and television. Through the extraction and refinement of the visual elements in the novel, the "novel energy" is purified in the original works. Under the premise, we use the strong visual image to transform the novel into "image".
The fourth chapter discusses the causes of the "image" phenomenon of the novel from the cultural background of the present era, the creative subject and the audience in three aspects, including the coming of the age of visual culture, the temptation of the author "name and profit" and the different needs of the appreciating "reading and seeing".
The conclusion is that film and television need novel, and the novel also needs film and television. Film and television provide a stage for the novel to show its style. The novel plays an active role in the aesthetic activities of film and television art with its unique aesthetic way. This two yuan and interactive art pattern not only illustrates the present, but also shows the future.
【學位授予單位】：湖南師范大學
【學位級別】：碩士
【學位授予年份】：2008
【分類號】：I054;J905

【引證文獻】

相關碩士學位論文 前3條

1 邱璇;文藝傳播學視域下小說文本到電影文本的轉(zhuǎn)變[D];廣西民族大學;2012年

2 王玨;劉震云小說的影像化闡釋[D];上海師范大學;2012年

3 許珍;20世紀90年代以來小說影視轉(zhuǎn)化現(xiàn)象研究[D];沈陽師范大學;2013年

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本文編號：2152213