论刘震云小说创作的影视化倾向

发布时间：2018-08-20 12:40

【摘要】：二十世纪九十年代以来，随着政治、经济、文化的持续变革，尤其是市场经济的飞速发展，大众文化的发展走向繁荣之路。其中，影视艺术以其形象、直观的文化形式逐渐占据了审美领域的主导地位。在这一冲击和挤压下，原本处于文化中心的纯文学日益走向边缘，文学的生产方式也受到影响。因此，文学的“触电”成为拓展生存和传播空间的文化选择。文学只有转型才能适者生存。为了适应影视文化这一外部环境，当代很多作家纷纷参与到影视与小说的互动中，刘震云是其中一位。作为新时期最具才华的作家之一，刘震云的小说《一地鸡毛》、《手机》、《我叫刘跃进》、《温故一九四二》相继被搬上大荧幕并引起热烈反响。随着影视的热播，，身兼作家和编剧双重身份的刘震云俨然成为大众文化的重要符号。这位“喜剧时代的批评家”，从未远离现实。在与影视的互动中，他一方面认同作家为影视写作，肯定影视艺术的独特价值，另一方面又十分注重保持小说的文学价值，捍卫自己的创作思想与个性。刘震云小说影像化的尝试，给新世纪文学的发展提供了参考模式，也为今后的文学创作指明了方向。本论文将从小说影像化的视角出发，以刘震云的小说创作为个案，分析和总结视觉文化语境下刘震云小说的影像化倾向。全文除引言和结语外，分为三个部分。第一部分主要阐释刘震云小说的影像化语境。第二部分从《手机》、《我叫刘跃进》等具体文本出发，探寻刘震云小说的影像化特质。包括世俗化、欲望化审美风貌的转变，画面感、视听效果的营造，口语化、通俗化语言的运用以及戏剧化的情节和蒙太奇手法的借鉴。第三部分则探讨刘震云小说影像化的价值和局限，以及给当代文学转向带来的思考。
[Abstract]:Since the 1990s, with the continuous changes of politics, economy and culture, especially the rapid development of market economy, the development of popular culture has moved towards the road of prosperity. Among them, film and television art with its image, intuitive cultural form gradually occupied the leading position in the aesthetic field. Under this impact and compression, the pure literature, which was originally in the cultural center, was increasingly moving to the edge, and the mode of production of literature was also affected. Therefore, the "shock" of literature has become the cultural choice to expand the living and spreading space. Only the transformation of literature can survive the fittest. In order to adapt to the external environment of film and television culture, many contemporary writers have participated in the interaction between film and fiction, Liu Zhenyun is one of them. As one of the most talented writers in the new era, Liu Zhenyun's novels "Chicken hair", "Mobile phone", "my name is Liu Yuejin", "Wenxue 1944" were put on the big screen one after another and aroused enthusiastic response. With the popularity of film and television, Liu Zhenyun, as a writer and screenwriter, has become an important symbol of popular culture. The critic of the Comedy Age has never been far from reality. In the interaction with the film and television, on the one hand, he agrees that the writer writes for the film and television, affirming the unique value of the film and television art; on the other hand, he pays great attention to maintaining the literary value of the novel and defending his creative thought and individuality. The attempt to visualize Liu Zhenyun's novels not only provides a reference model for the development of literature in the new century, but also points out the direction of literary creation in the future. This thesis will analyze and summarize the visual tendency of Liu Zhenyun novels in the context of visual culture, taking Liu Zhenyun's novel creation as a case. In addition to the introduction and conclusion, the full text is divided into three parts. The first part mainly explains the image context of Liu Zhenyun's novels. The second part explores the image characteristics of Liu Zhenyun novels from the following texts: mobile phone and my name Liu Yuejin. Including secularization, desire of the transformation of aesthetic features, screen sense, audio-visual effects of the construction, colloquial, the use of popular language, as well as dramatic plot and montage techniques for reference. The third part discusses the value and limitation of Liu Zhenyun's fictions, and the reflection on the turn of contemporary literature.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：I207.42

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