【作者】 赵秀敏；

【导师】 王泽龙；

【作者基本信息】 华中师范大学 ， 中国现当代文学， 2014， 博士

【摘要】 六十年来被大陆以及海外评论不休的在小说领域制造了“传奇”的张爱玲,在电影剧本原创领域再度制造“传奇”。然而她于这方面曾横卓一个时代的成就却鲜少为世人所知,也鲜少为学者评述,成为张爱玲创作研究的一个盲点或者叫“黑洞”。这个“黑洞”关系到张爱玲做为小说家、也做为电影艺术家；做为悲剧家、也做为喜剧家的重新定位问题。这个论域的开启将拓宽拓深做为一个经典作家、一些经典课题的研讨视界。本文从张爱玲电影原创剧本的创作数量、剧本搬上银幕的数量、上座率、票房记录、接受群体的反映等多方面,以翔实充分的史实,论证出这一切构成的一个综合指数判断：张爱玲是中国女性电影编剧家中的“第一人”,是电影剧作家中一个女性先驱者的存在。第一章是对张爱玲的电影艺术观的梳理与评价。涉及到对中国电影题材要“中国化”的主张,对电影叙事策略的喜剧论主张,对戏剧叙事与接受者之间平衡策略,关于电影细节的见解等,这些主张大致构成了张爱玲的电影艺术观念,虽然不成体系,但是都成为了她进行电影剧本创作的自觉趋求,表现了她电影思想在她电影剧本中的渗透。第二章从文化分析角度,对张爱玲电影剧本中的人物镜像构建进行了论析,论证了她在中国电影人物形象的经典性贡献：一是特立独行的中产阶级人物形象；二是叛逆性的女性人物镜像；三是香港多元文化都市众生相等。这三类独步一时的经典镜像书写,在中国电影人物画廊中具有类型化或典型化意义。第三章从艺术分析角度,对张爱玲电影剧本叙事策略的论析：一是叙事策略之转换,她从小说到电影的悲喜剧的换位；二是香港浮世绘中的中国风俗喜剧叙事：三是她所构建的“惊险电影”式喜剧叙事结构；四是她独特的“好莱坞”式中国版叙事策略；五是她的倒金字塔设置——“最优戏剧编码”的自觉述求：六是她干净简单美的“白描式”电影叙事。她的电影叙事完成了张爱玲一个优秀的喜剧艺术家的转换,奠定了中国电影叙事的风俗喜剧艺术的基础。第四章从电影技巧上对张爱玲电影剧本的戏剧结构进行了论证分析：一是论述了用“标准电影剧本格式”书写电影,诸如“三段式结构模式”,路标式的主题牵引动作,以饱满的冲突实现戏剧张力,以凡人的性格贯穿故事等；二是论述她坚持“电影剧本系统”的元素效应,如开端结局设置的“凤头”“豹尾”效应；情节点设置的“钩住”效应；场面设置的“信息”效应等。这些电影专业技巧的娴熟使用,体现了张爱玲之于电影创作的才气与禀赋,也成为了她作为电影剧作家获得时代与大众认可的必要原因。本文力求将中国电影整体发展做为论述的大背景,深入结合电影艺术、电影技术理论,从纵向横向多种角度,从文化分析到艺术分析,运用文本解读、比较研究方法,为张爱玲研究开启一个全新的研究领域。更多还原

【Abstract】 Nearly six decades, mainland and overseas comment endlessly areas of novels created "legends" of Eileen Chang’s and again in the field of screenplay and original manufacturing "legend". However, she has cross the achievements of an era are rarely known to the world, precious few scholars comments become a blind spot of research on Eileen Chang’s creation. This blind spot related to literature in Eileen Chang as a novelist, but also as a film artist, as a tragedy, but also as a comedian of relocation problems. This domain extension deep the classic opening will widen, some classical topics of discussion-horizon.This paper onto the screen from the number of creative Eileen Chang screenplay, script number, attendance, box office records, and many other groups to receive reflected in detailed facts, arguments Eileen Chang is a Chinese female movie screenwriter of the "first person", movie playwright female pioneers.The first chapter is a sort of Eileen Chang and evaluation of film art concept. Involved for Chinese films to the idea of "Chinese style", the movie narrative strategy of comedy theory argues that the dramatic narrative strategy between the recipient and balance, details about film ideas and so on. These claims constitute roughly Eileen Chang’s film art concept, although fragmentation, but have become her screenwriting conscious trend seeking, the performance of her thoughts on her movie screenplay penetration.The second chapter analyzes from the cultural point of view, the characters Eileen Chang screenplay mirrors were built on the analysis, demonstrated her contribution to classical Chinese characters in the movie:one is maverick middle class characters; The second is the rebellious female characters image; third, Hong Kong multicultural city gripping, etc. These three classic moment unmatched mirror writing, with typed or movie characters typifying significance in Chinese gallery.Third chapter from art analysis angle, on Eileen Chang’s screenplay narrative policy of on the analysis:one is the transformation of narrative strategy, she from novel to film the tragicomedy transposition; Second is the China custom comedy narrative of Hong Kong float world draw; Three is she builds "thriller movies" comedy narrative structure; Four is her unique narrative strategy of "Hollywood" type Chinese version; Five is her inverted pyramid Settings-"the optimal plays coding" of consciously referred to begged; Six is her "lyrics" film narrative clean simple beauty. Her movie narrative completed the Eileen Chang’s transformation, a great comic artist to lay the basis of the customs of the Chinese movie narrative comedy art.The fourth chapter from the film techniques of Eileen Chang’s movie script demonstrates the drama structure analysis:one is written in "standard" screenplay format are discussed, such as "a three-stage structure model", the theme of the landmark traction action, to realize the dramatic tension, full of conflict with human character throughout the story, etc.; the two is discussed in her insistence "screenplay" element effect, such as the beginning of the end "crested" set "leopard tail" effect; the plot points "hooked" effect; the scene is "information" effect, etc. Skilled professional skills to use these films, reflected in the film creation of Eileen Chang’s talent and genius, became her as screenwriters to obtain necessary reasons of age and public recognition.This article makes every effort to the development of Chinese film as a whole as discussed the background, combining the theory of film art, technology, from the perspective of longitudinal transverse variety, from the cultural analysis to the analysis of art, using the text interpretation, comparison research method, to Eileen Chang research opens a new research field.更多还原