“法庭片”的本土化改造与“现代性”问题——论《十二怒汉》的跨文化改编

发布时间：2018-03-10 00:22

本文选题：《十二怒汉》《十二公民》原型　切入点：本土化　出处：《当代电影》2017年04期 　论文类型：期刊论文

【摘要】：在美国好莱坞于1957年推出《十二怒汉》(12 Angry Men)之后,陆续出现了"仿写"该片的日本的《12个温柔的日本人》(1991)、俄罗斯的《十二怒汉:大审判》(2007)、中国的《十二公民》(2014)等。这种一部电影在不同国家、不同时期的创作改编,构成为一个具有"征候性"的有趣的文化现象。为什么一个张扬美国民主与法治精神的庭审片亚类型,在新世纪前后,竟不约而同地在作为异域文化、"他者"国度的非欧美国家引发了一场重写或改编的"热潮"。本文通过对美国、俄罗斯、中国三部电影"跨文化改编"现象的比较分析,研究改编背后美国、俄罗斯、中国的不同的现实语境、文化逻辑与意识形态表达等问题。
[Abstract]:After Hollywood launched the 12 Angry menu in 1957, One after another has appeared "imitating" the film "12 gentle Japanese" in Japan, "12 gentle Japanese" in 1991, "Russia's < 12 angry man: great trial" in 2007, and "12 Citizen" in China.) this kind of film has been created and adapted in different countries and at different times. Constitutes an interesting cultural phenomenon with "symptoms." Why is a subtype of court footage that promotes the spirit of democracy and the rule of law in the United States around the new century? However, as a foreign culture, the non-European and American countries in the "other" country have triggered a "craze" of rewriting or adaptation. This paper makes a comparative analysis of the phenomenon of "cross-cultural adaptation" in the three films of the United States, Russia and China. This paper studies the different realistic contexts, cultural logic and ideological expression of America, Russia and China behind the adaptation.
【作者单位】：北京大学艺术学院;
【分类号】：J905

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