论陈凯歌电影对文学作品的改编

发布时间：2018-03-18 10:47

本文选题：陈凯歌　切入点：文学　出处：《山东大学》2013年硕士论文　论文类型：学位论文

【摘要】：关于文学和电影两种艺术门类之间的比较研究一直是学术界关注的焦点,电影改编理论的探索也从未停息。陈凯歌是“第五代”电影导演之一,也是中国电影导演翘楚,他改编自文学作品的影片成就尤其卓越。但目前看来,针对陈凯歌的电影改编研究专论成果并不多。运用相关理论支撑对陈氏电影改编实践进行研究分析,归纳总结其改编方式及特点,提供电影改编新思路,目前看来是一个空缺,也是本论文的选题初衷。 “第五代”导演群体的创作实践极大促进了中国电影语言的革新,他们关注民族文化、注重历史反思,作为这个团体中的一员,陈氏也不例外。除却保持“第五代”电影人的共性特征之外,陈氏的个人特质也为其创作打上独特的个人风格烙印。论文第一章则介绍陈凯歌导演所属的“第五代”导演群体特征以及陈导个人特质,并综述陈凯歌的电影改编实践。基于内部研究的思路,利用文本细读的方法,在第二章中,本论文对陈氏五部改编影片及文学原作一一进行比较分析。此章按照陈氏的创作时间和所选文学文体分为三节,对每部作品的分析都抓取其独特改编模式：《黄土地》改编自散文作品,对其分析思路侧重于电影与小说的美学转换；《孩子王》和《边走边唱》均改编自中短篇小说作品,则选取叙事分析作为主要思路；针对改编自长篇作品的《霸王别姬》和《风月》两部影片,则主要探讨主题上的转换。第三章转向电影与文学的外部比较分析,转向陈氏作品的抒情性研究、文化研究等方面,提取陈凯歌改编实践的共性特征。陈氏实践涉及小说、散文等不同文体的电影转换,陈氏对不同文体作品的处理关键就在于挖掘不同文学体裁中共同具备的叙事性,进而并做到叙事性与抒情性并举。陈氏自由采用蒙太奇镜头剪辑、特写、音乐等多种电影语言手段完成文学至影片的抒情方式的转换。陈氏影片还对文学原作进行文化改写,尤其集中在历史建构和民族特色两方面。进入上世纪90年代,中国电影回归大众文化的本质,注重娱乐性和商业性的土壤不再是艺术电影的摇篮,但陈氏的改编影片依旧试图保持文学般的精英意识,其将文学性和电影商业性有机结合的艺术探索是值得肯定的。结语部分归纳总结了陈凯歌电影改编实践坚持美学转换以及文本再阐释的个人认知和时代意义,对电影改编理论和以后的电影改编实践都具有启发意义。
[Abstract]:The comparative study of literature and film has always been the focus of academic attention, and the exploration of film adaptation theory has never stopped. Chen Kaige is one of the "fifth generation" film directors, and is also the leading film director in China. His film adaptation from literary works is particularly successful. However, it seems that there are not many achievements in the film adaptation study of Chen Kaige. Using relevant theories to support the research and analysis of Chen's film adaptation practice, Summary of its adaptation methods and characteristics, provide a new way of film adaptation, it seems to be a vacancy, but also the original intention of this paper. The creative practice of the group of directors of the "Fifth Generation" greatly promoted the innovation of Chinese film language. They paid attention to the national culture and historical reflection, as a member of this group. Chen is no exception. Apart from maintaining the common features of the "fifth generation" filmmakers, The first chapter introduces the group characteristics of the "Fifth Generation" directors belonging to Chen Kaige and Chen's personal characteristics, and summarizes the film adaptation practice of Chen Kaige. Based on the thought of internal research, this paper makes a comparative analysis of Chen's five adapted films and original literary works in the second chapter by using the method of text reading. This chapter is divided into three sections according to the time of Chen's creation and the selected literary style. The analysis of each work grabs its unique adaptation mode: "Yellow Earth" is adapted from prose works, and its analytical thinking is focused on the aesthetic transformation between movies and novels, while "Children's King" and "singing while walking" are both adapted from short and medium-sized novels. Then the narrative analysis is chosen as the main train of thought, and the conversion of the theme of the two films, "Farewell to my Concubine" and "Wind Moon", which is adapted from the long works, is mainly discussed. The third chapter turns to the external comparative analysis of film and literature, to the lyric study and cultural study of Chen's works, and to the common features of Chen Kaige's adaptation practice. Chen's practice involves the film conversion of different styles, such as novels, prose, etc. The key to Chen's handling of different literary works is to dig out the common narrative in different literary genres, and to achieve both narrative and lyricism. Music and other means of film language to complete the conversion of the lyrical way from literature to film. Chen's film also carried out cultural rewriting of the original literary work, especially focusing on the historical construction and national characteristics. In -10s, Chinese films return to the essence of popular culture, and the soil of attention to entertainment and commerce is no longer the cradle of art films, but Chen's adapted films still try to maintain the literary sense of the elite. The artistic exploration which combines literature and film commercial is worthy of recognition. The conclusion summarizes the personal cognition and epochal significance of Chen Kaige's film adaptation practice of adhering to aesthetic transformation and reinterpreting the text, which is instructive to both the theory of film adaptation and the practice of film adaptation in the future.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905;I206.7

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