【作者】 任志明；

【导师】 赵学勇；

【作者基本信息】 兰州大学 ， 中国现当代文学， 2009， 博士

【摘要】 “红色经典”影视改编无疑是近年来最重要的文化事件之一，“红色经典”影视改编热潮的出现很大程度上是转型时期的中国多元话语意义相互影响的结果。本文选择“红色经典”影视改编作为研究对象，在对“红色经典”影视改编研究进行检视与反思的基础上，对“红色经典”影视改编研究提出了期望与目标。第一章探讨了由小说作品改编为影视作品的认识与实践、意义与价值以及“影视话语霸权”等问题。第二章梳理与分析了“红色经典”的命名争议、“红色经典”影视改编中的身份认同焦虑、“红色经典”影视改编中的大众信仰危机、“红色经典”改编中多重语境的众声喧哗等问题。第三章重点探讨并剖析了“红色经典”影视改编热潮成因，诸如：后革命时代：以革命的名义；“红色经典”影视改编引发怀旧情绪；“红色经典”影视改编为执政党寻找合法性；“红色经典”影视改编是精英文化向大众文化的妥协；“红色经典”影视改编是意识形态与市场机制的共谋等。第四章从投资方、制片商，尤其是创作者的角度，分析了“红色经典”影视改编的种种策略选择：市场策略运用；目标观众诉求；文化策略审视；技术策略体现等。第五章着重对“红色经典”影视改编的叙事手法进行了详细分析，其中包括“红色经典”影视改编的叙事维度、故事容量、情节设计、人物塑造，以及细节刻画等。第六章对“红色经典”影视改编的方式方法进行了审视，本文认为，建构式改编加强了原作意识形态的传播效果，解构式改编或悖离或颠覆原作引起诸多争议，重构式改编充分深化了影视改编的创新意义。第七章梳理并剖析引起“红色经典”影视改编争议的主要问题：“红色经典”原创作品历史局限性反观；“红色经典”改编中的情感困惑问题探究；“红色经典”改编“注水稀释”现象另解；消费社会中英雄形象与英雄情结之嬗变；反面人物的“人性化”误读与当代变脸；新历史主义观念影响下的后现代“戏说”；娱乐化与消费主义潮流中的庸俗化倾向等。第八章对“红色经典”影视改编的价值与意义进行了更为深入的分析。本文作者认为当下的红色经典”影视改编，有利于大众媒介化时代的历史重塑，激活并强化了当代人的历史记忆，建构了中国独特的影视叙事，对影视类型进行了探索与创新。最后一章探讨了“红色经典”影视改编对当前影视创作有多方面启示：“红色经典”影视改编要汲取学术研究成果、应遵循艺术创作原则、要尊重原著精神内涵、要符合电视媒体传播特性；要重视观众对“红色经典”影视改编的认知定位与心理期待；“红色经典”影视改编还要提升观众审美需求、彰显人文精神意识、体现新的时代精神等等。更多还原

【Abstract】 Recent years,movie and TV adaptions of Red Classics is one of the mostimportant culture event beyond doubt,and at most degree,its upsurge result in themultivariant utterance significance influencing each other during Chinese societytransform.This paper chose movie and TV adaptions of Red Classics as object of thestudy,and on basis of viewing and rethinking it profoundly,proposed the expectationand the goal of it.The first chapter discussed understanding and practice,significance and value,movie and TV words hegemony of adaptions from novel works to film andtelevision works,and so on.The second chapter carded and analyzed manyproblems,such as naming dispute,dignity acception anxiety,masses belief crisis,andthe numerous sounds and clamoring in multiple linguistic environment,ect.The thirdchapter focused on discussing and analysing the cause of the upsurge of movie andTV adaptions of Red Classics:by the name of revolution at post-revolution time;initiating a nostalgic mood;seeking for the validity for the incumbent party;compromising from elite culture to popular culture;conspiring between the ideologyand the market mechanism;and so on.The fourth chapter analyzed sorts of strategies choice of movie and TV adaptionsof Red Classics from the perspectives of investors,productors,and especially authors:market strategies utilization;the target audience demands;carefully examining thecultural strategies;manifesting the technical strategies;and so on.The fifth chapteranalyzed narrative techniques of movie and TV adaptions of Red Classics in detail,including narrative dimension,the story capacity,the plot design,the characterization,aswell as detail portray,ect.The sixth chapter carefully examined ways and means ofmovie and TV adaptions of Red Classics.This article believed that construction typeof adaptions strengthened the ideology dissemination effect of the original works,deconstructive type of adaptions caused many disputes because of deviating from or subverting to the original works,restructuring type of adaptions fully deepenedinnovative significance of adaptions.The seventh chapter combed and dissected mainproblems arousing disputes,such as anti-reviewing on the history limitation oforiginal works,exploring the emotional confusions,alternative interpretation of thephenomenon of Irrigation and Dilution,the evolution of the heroic image andcomplex in consumer society,misreading and changing face of humanized negativeroles in contemporary society,the post-modem Joking under the influence of newhistory concept,the vulgarization tendency in entertainment and consumerismtrend,ect.The eighth chapter luther analyzed the value and significance of adaptions ofRed Classics movie and TV.The author thought that the current Red Classicsadaptions was advantageous of history remodeling in the mass media era,activatedand strengthened the historical memory of contemporary people,constructed Chineseunique film and television narrative type,explored and innovated the film andtelevision type.The final chapter discussed various enlightenment of Red Classicsadaptions to the current film and television creation:Red Classics adaptations mustdraw on the achievements of academic researches;should follow the artistic creationprinciples;need to respect the connotation of the spirits of the original;and it isnecessary to comply with the properties of television media;attention should be paidto the audience cognition orientation and psychological anticipation of Red Classicsadaptions;need to enhance the audience’s aesthetic demands;highlight awareness ofthe humanistic spirits;manifest new spirits of the new era;and so on.更多还原