从武侠小说到武侠影视的审美转换

【作者】 刁兰兰；

【导师】 廖小鸿；

【作者基本信息】 中共中央党校 ， 文艺学， 2011， 硕士

【摘要】 新世纪伊始,由张艺谋的《英雄》所开启的古装动作大片模式几乎成为了华语电影取得影响力和高额票房的通行范本。然而在收获巨大利益的同时,各种问题也逐渐显现出来,引发人们广泛的争论与探讨。回望近十年来有过影响的电影作品,绝大部分都是古装、动作、武侠等。出现这种状况一方面是因为中国人精神世界里根深蒂固的武侠情结,另一方面也与电影本身的制作模式相关。电影推向市场重组,产业化发展迅速,市场优胜劣汰的法则和电影制作者对票房的本能追求,这一切都使得情节简单、动作刺激、场面宏大的武侠电影大行其道。而在这大量的武侠电影作品中,有很多是改编自武侠小说等相关文学作品的。中国的武侠小说源远流长,从古典到现代,由旧派到新派,作品数量繁多,为武侠电影的改编提供了很好的素材。然而并不是拥有好的小说文本就一定能够拍出好的电影作品,这两种不同审美风格的文体之间的转换有着独特的规则与制约。现实的情况是,虽然武侠影视作品数量众多,但是取材狭窄单调,手法千篇一律,重复拍摄现象突出,跟风之作太多,小说中所包含的人文精神与文化底蕴经常性地被弱化乃至忽视。为了有助于改变这种情况,为现实的武侠影视创作提供一种思路与参照,本文将用三章的篇幅着重从审美转换的角度来分析,探讨,以期得出一个相对明确的答案。第一章,分别论述武侠小说与武侠影视的审美特征,全面把握与对比二者的异同之处,为二者之间的转化既寻找一种理论上的支撑点,又获得操作层面的切入点。小说的重点在场面,支撑场面的是人物,人物的特别之处在于武功,这一切最终汇聚成了故事,小说讲的偏重于故事。而影视的重点在画面,形成画面的是光影,光影交织传递的是动作,因为静止的是图片,有动作才能叫做画面。而画面是直观的,具有直接的感染力与冲击力,所以影视就不单单是讲述一个故事,它更偏重于表达一种情怀。第二章,从形象、语言、身份、意境、类型、风格、人文精神等不同的角度全面阐述从武侠小说到武侠影视的审美转换。由武侠小说的文本到武侠影视的作品,人物变成演员,讲述变成演绎,“他人”变成“自己”,意境由虚变实,类型多样,风格迥异,这之间有无数的变化与可能。尤其是对于情节的处理,添加删减取用合宜是不容易做到的。小说与影视都要讲故事,但讲述的方法是不一样的。确切的说,小说讲述的多是完整的故事,而影视表现的往往是重要的情节,因为彼此所能包含的容量不一样,这都是改编时要解决的重要问题,某种程度上,也是改编成败与否的关键所在。第三章,总结改编时应把握的原则和注意的问题,无论采用什么样的手法,“质量对等”都应当是评判改编的武侠影视作品是否成功的重要标准之一。更多还原

【Abstract】 With new century beginning, the ancient costume motion big piece pattern which "Hero" opened by Zhang Yimou becomes general model for Chinese-language movie to obtain influence and higher tickets sales. However during harvest enormous benefits, variety of questions also gradually come out, which initiate people’s widespread debate and discussion. The influential movies in the past decade are most ancient costume movies, motion movies and knight-errant movies, and so on. The reason for this situation on the one hand is the wuxia complex rooted in Chinese. On the other it is because of the movie’s manufacture pattern. The movie pushes market reorganization. The principle of“survival of fittest”of market and the instinct pursues of box office by movie maker, all make the knight-errant movies widely accepted, which have simple plots, stimulating motions and magnificent pictures.The first chapter specifically elaborates esthetic characteristic of the chivalric fiction novel and the knight-errant film and television, compares the differences and similarities of the two, which provides the theoretical support for the transformation of the two and provides the breakthrough point on the level of operation. The key point of novels is scenes, with characters at its core. The main features of characters lie in Kongfu. All of these contribute to story, which is the highlight of novels. However, the key point of film and television is pictures which are formed with light shows interweaving with motions. Pictures are static, while scenes are full of motions. But scenes are intuitive, contagious and striking. Therefore, the film and television do not only tell a story, but also express feelings.The second chapter explains the esthetic transformation of chivalrous story and knight-errant movies from the perspectives of image, linguistic environment, status, ideal condition, type, style, humane spirit and so on. From a play to a movie, characters become actors, narration becomes performance and the third persons become one selves. In this process, the ideal condition becomes reality, with diverse types and styles, full of changes and possibilities. Especially regarding plot processing, the adding, deleting and employing are not easy to handle. Both novels and movies tell stories, but with different ways. To be exact, novels often tell complete stories, while movies pay more attention to important plots. This is because of the different capacity of novels and movies. All of these are important questions to be solved during adaptation.The third chapter analyzes the principle and question during adaptation. Whatever methods to be employed, the principle of“the quality is coordinated”must be one of the important standards to comment the adaptation of knight-errant films.更多还原