选择与接受：新时期以来电影对中国现当代文学作品的改编

【作者】 朱怡淼；

【导师】 朱晓进；

【作者基本信息】 南京师范大学 ， 中国现当代文学， 2012， 博士

【摘要】 新时期以来,电影对中国现当代文学作品的改编是一个重要的文艺现象。改编作为文学与电影之间最直接的联系方式,其实质是电影对于文学的一种影像式的选择与接受。新时期以来电影对文学的改编实践表明,一方面,电影程度不同地以文学原著为丛础,从题材内容、主题内涵、形象塑造、艺术结构等方面对文学作品进行艺术的选择与接受,以“重读”的方式闸释并传播中国现当代文学；另一方面,新时期以来由于电影作为一种大众媒介的地位与影响力的日益提高,电影改编对文学原著的选择和接受所凸显的审美倾向和价值取向又反过来影响新时期以来中国文学的发展,并日这种影响越来越明显。本文即以新时期以来电影对中国现当代文学作品的改编为研究对象,围绕以上两个方面展开研究。为此,本文从电影改编文学的理论前提、具体改编实践、以及电影改编对中国当代文学的影响和反作用等三个层面来架构全文。全文内容共分四章,具体如下：第一章阐述电影改编文学的理论前提,论述电影为何更倾向于改编文学(尤其是小说)而非其他艺术形式。为此,论文分析了文学与电影之间的内在关联。一方面,文学与电影在媒介方式、叙事特征、接受方式上的差异性,使其各自成为独立的艺术形式、具备独立的艺术品格；另一方面,两种艺术之间的遇合与互渗,又提供了电影以改编的方式对文学实现互文的可能性。具体而言,文学文本的独创性与“空白”、文学与电影在艺术元素上的交互与融合、受众的接受与其期待视域的弥合等,是电影改编文学得以实现的主要因素。在阐述了电影改编文学的理论前提之后,论文接下来对新时期以来的电影改编实践展开具体、深入的论述,力图在电影改编文本和文学文本对比性“细读”的丛础上,清晰呈现电影改编是如何对中国现当代文学进行选择与接受的。根据改编电影所呈现的鲜明的阶段性特点,本文将新时期以来的电影改编分为新时期(1977年——1989年)和1990年以来两个阶段。相应地,论文以两章的篇幅进行具体论述。第二章阐述新时期电影对现当代文学基于审美原则的选择与接受,从现实主义回归和人道主义彰显两个角度展现政治拨正给文艺带来的新生。新时期改编电影中的现实主义回归经历了从政治批判走向文化反思的历时性演变过程,人道主义彰显也有历时性不断深化的轨迹。从改编实践看,现实上义的回归以正面价值观的示范、批判意识的加强与苦难的淡化、以及现实情感的感召与宏大叙事的嬗变三个向度展现：人道主义的彰显则以人的觉醒与人性的呼唤、以及对生存苦难的悲悯情怀两个向度展现。本文通过具体文本的对比分析,试图体现出改编的历时性特征。此外,新时期电影的改编观念也有明显的变化：早期重视“忠实于原著”,中后期开始出现“提取一点,凸显自我”的主张。第三章阐述1990年以来在市场经济与多元文化规约下电影对现当代文学的选择与接受,从大众文化、全球化和后现代三重语境出发,展现此时的电影改编较之于新时期所发生的显著变化。1990年以来,由于大众文化的商业性、通俗化的特征与后现代上义的消解深度、削平价值的平面化特征,这一时期的电影改编呈现多元化的风貌,本文试图从多角度、多侧面来体现其多样性。分别从商业语境中的娱乐化和欲望消费中的焦虑感、全球化语境下应对国际视域的迎合与趋同策略、后现代语境下颠覆权威、背离崇高和戏仿生活等方面展开具体论述。第四章在前文的基础上阐述了改编电影的勃兴对当代文学的影响。新时期以来随着电影在社会文化生活中的影响日益增强和精英文学的逐渐衰落,电影改编对于文学的选择和接受,也越来越凸显出电影艺术对于文学的反作用在逐步加强。本文主要从创作主体、文学文本和接受主体三个角度考察电影改编作为一种特殊的接受方式对当代作家、文学文体和受众审美选择的影响。具体包括以下主要内容：电影改编对当代文学的文体产生推动革新和蚀伤文体的双重影响；电影改编直接影响到作家的文学立场抉择与创作观念的嬗变；电影改编对受众审美倾向、审美趣味的规约导致受众审美选择的变化等。本文紧紧围绕新时期以来电影对中国现当代文学作品的改编实践,力图以理论阐述和文本分析相结合的方式,对中国当代电影与现当代文学之间的互动和互文关系进行具体分析,并深入探讨文学文本与电影文本的审美联系,以及电影改编作为一种文学接受方式对当代文学所施加的影响。本文试图通过上述努力,进一步推进新时期以来电影与文学关系的研究走向深入。更多还原

【Abstract】 The adaption of movie to modern and contemporary literature of China is an important literature phenomenon from new era. As the most direct connection between literature and movie, adaption is a kind of choice and acceptance with photograph in its nature. The practice of movie adaption to literature from new era suggests that on one hand, movie, basing on original literature works, chooses and accepts these literature works artistically in contents, topics, image building, art structure, etc., to explain and broadcast China modern and contemporary literature by "re-reading"; on the other hand, with movie’s status and impact improving as a mass media from the new era, aesthetic tendency and value orientation presented by the choice and acceptance of movie adaption to original literature works, in return, casts an more and more obvious impact on literature development of China from the new era.This article studies on movie adaption to China modern and contemporary literature from the new era and develops with the two perspectives above. So, the structure of the article concludes in three perspectives of movie adaption to literature:theoretical premise, adaption practice and impact and reaction of movie adaption to China modern and contemporary literature. The article breaks down on following four chapters:Chapter One describes theoretical premise of movie adaption, explaining the reason that movie adaption favors literature, especially for novels, rather than other art forms. Thus the article analyzes the inner connections between movie and literature. On one hand, the difference of literature and movie on media method, narrative style and acceptance way makes literature and movie independent art forms and possesses independent art characters; on the other hand, the meet and inter-penetration of two art forms provides the possibility of movie Intertextualite to literature by adapting. Specifically, unique creation and "empty" of literature text, inter-cross and integration, mixture of acceptance and expectation from audience, etc.. are the major factors, which make possible for movie to adapt literature.After describing the theoretical premise, the article discusses the practice of movie adaption from the new era in details and depth, trying to present clearly how movie adaption to choose and accept China modern and contemporary literature on a basis of comparative "specific reading" to movie adaption text and literature text. Through the vivid stage character of movie adaption, the article divides movie adaption from the new era into two stage:new era (year1977to1989) and from year1990. Accordingly, the article discusses in details in two chapters.Chapter Two describes the choice and acceptance of movie adaption to modern and contemporary literature on the basis of aesthetical principle, presenting the new birth of art by bringing order out of chaos politically, from returning of realism and presence of humanism. The returning of realism in movie adaption from new era went through a historical evolving course from returning to main stream ideology to cultural introspection. The presence of humanism also takes a deepening diachronic course. From the perspective of adaptation practice, the returning of realism presents on three dimension:a demonstration of positive value, an enhancing of critical consciousness and weakening of hardship, a call to realistic emotion and transition to grand narration. The presence of humanism demonstrates on two dimensions:human’s awakening and call to humanity, a mercy and emotion to hardship of survival. In addition, the concept of movie adaption in new era also possesses an obvious change:from a "loyalty to original works" in its early stage to a stand of "a bit of extraction and self-highlight" in its mid-later stage.Chapter Three describes choice and acceptance ef movie to modern and contemporary literature within a condition of market economics multi-culture rules from year1990and presents obvious changes of movie adaption between contemporary time and time from new era by perspective of mass culture, global culture and post-modernism. Movie adaption from year1990, presents a diversifying style because of a popularization character and a plane character of depth and value of post modernism. The article tries to describe its diversity from multi-perspectives and dimension. The article discusses entertainment of commercial condition anxiety of desire consumption, attendance and convergence to international viewpoint of globalization context, anti-authority of post modernism context, anti-decent and life simulation, etc..Chapter Four discusses the impact of flourishing movie adaption to modern and contemporary literature, basing on previous discussion. The choice and acceptance of movie adaption to literature highlights the strengthening of counteraction of movie art to literature with an enhancing impact of movie on social cultural life and a fading of elite literature from new era. The article reviews the impact of movie adaption as a special acceptance method on modern authors, literature text, literature style and audience aesthetic from creation subject, literature text and acceptance subject. The detailed impacts includes:movie adaption casts an impact on evolution and erosion of modern literature text, movie adaption casts an impact on literature stand choice and creation concept of authors, movie adaption casts an impact on aesthetic preference of audience by influencing aesthetic tendency and interests of audience, etc.. The article analyzes in depth the interaction and intersexuality connection of China modern movie and modern and contemporary literature by concentrating on practice of movie adaption to China modern and contemporary literature with a methodology of theory description and text analysis. The article discusses in depth aesthetic connections of literature text and movie text and the impact of movie adaption as a kind of literature acceptance method on modern literature. The article tries to push the study on the connection of movie and literate from new era to go further through above endeavor.更多还原