新时期中国电影对外国名著的改编研究

发布时间：2018-06-06 03:39

本文选题：新时期中国电影 + 外国名著　；参考：《曲阜师范大学》2017年硕士论文

【摘要】：电影自诞生以来便与文学有着不可分割的联系,它对文学作品的改编历史几乎与它本身的历史一样长,改编成为了电影创作的重要手段。电影这一艺术形式自西方传入中国后,中国电影的发展便与西方文学息息相关。新时期以来,随着全球化进程的进一步加快,中外文化交流日益密切,中国电影对西方文学作品的改编又迎来一个“春天”。本文旨在厘清如下问题:中国电影对外国名著的改编分期及每一阶段的历史背景和电影改编特点;新时期改编外国名著的中国电影与原著之间的区别;当前中国电影改编工作中存在的问题;新时期中国电影改编工作的出路。本文分为三个部分:首先,对中国电影对外国文学作品改编的历史进行纵向梳理。自电影这一艺术形式传入中国以来,中国电影对外国文学作品的改编可大致梳理为新中国成立前(1913-1949)、改革开放之前(1949-1978)和新时期(1978-)等三个时期。其次,论文采用文本细读法和比较分析法,深入分析原著与改编后的电影的差别。以《血色清晨》、《一个陌生女人的来信》、《夜宴》和《喜马拉雅王子》四部电影为例,从背景、人物、主题等方面进行深入分析,这些电影均在这几方面进行了本土化的再创造,选择了适合原著发生及改编的背景,对人物形象进行了重新塑造,表达了新的主题,但这些电影除了《血色清晨》大获成功外,其余电影皆反响平平。鉴于中国电影对外国名著的改编现状,可以得出在改编的过程中存在以下不足之处:剧本选材不当;艺术创新和思想开拓力度不足;刻意迎合观众口味;过度追求商业价值。最后,新时期以来,经济、文化迅速发展,科技的进步带动了文化交流的便捷。新时期在IP环境、粉丝经济、文化全球化等大的时代背景下,应更加关注电影剧本题材的选择,尊重原著的精神内涵和艺术探索,重视故事情节的打造,并重商业价值与艺术价值。从上述层面入手,建构新时期电影改编的新体系。作为跨文化的传播,外国名著与中国电影之间有着独特的联系,中国电影人应深入研究两者的内在关系,利用好国外丰富的文学资源,从题材、传播广度、艺术性等方面深入考察,选取适宜的名著,从故事情节、精神内核等方面进行本土化的改编。总之,对外国名著的改编对于中国电影的发展有着不可忽视的促进作用,亦是外国名著与中国电影的双赢。
[Abstract]:Film has been closely related to literature since it was born. Its history of adaptation of literary works is almost as long as its own history. Adaptation has become an important means of film creation. Since the art form of film was introduced into China, the development of Chinese film is closely related to western literature. Since the new era, with the further acceleration of the process of globalization, the cultural exchange between China and foreign countries is getting closer and closer, and the adaptation of Western literary works by Chinese movies ushered in a "spring". The purpose of this paper is to clarify the following questions: the stages of adaptation of foreign masterpieces in Chinese films, the historical background and characteristics of each stage, the difference between Chinese films adapted from foreign masterpieces in the new period and the original works; The problems existing in the current Chinese film adaptation work and the outlet of the Chinese film adaptation work in the new period. This paper is divided into three parts: firstly, the history of Chinese film adaptation of foreign literature works is sorted out vertically. Since the introduction of film as an art form into China, the adaptation of foreign literary works by Chinese films can be roughly sorted into three periods: before the founding of New China (1913-1949), before the reform and opening up (1949-1978) and in the new period (1978-1978). Secondly, the text reading method and comparative analysis method are used to analyze the difference between the original book and the adapted film. Taking the four films "Blood Morning", "letter from an unfamiliar woman", "Night Banquet" and "Prince Himalayan" as examples, in-depth analysis is made from the aspects of background, character, theme, and so on. These films have all been recreated locally in these aspects. The author chooses the background suitable for the original creation and adaptation, reshapes the characters and expresses the new theme, but except for the great success of Bloody Morning, the other films have a mediocre response. In view of the present situation of adaptation of foreign masterpieces in Chinese films, we can conclude that the following deficiencies exist in the process of adaptation: improper selection of script materials; insufficient strength of artistic innovation and ideological development; deliberately catering to the tastes of the audience; and excessive pursuit of commercial value. Finally, since the new period, the rapid development of economy and culture, the advancement of science and technology has driven the convenience of cultural exchange. In the new era, under the background of IP environment, fan economy and cultural globalization, we should pay more attention to the choice of movie script theme, respect the spiritual connotation and artistic exploration of the original work, and attach importance to the creation of the story plot. Both commercial value and artistic value are emphasized. From the above level, the new system of film adaptation in the new period is constructed. As a cross-cultural communication, there is a unique relationship between foreign masterpieces and Chinese films. Chinese filmmakers should deeply study the internal relationship between the two, make good use of the rich literature resources of foreign countries, from the subject matter, spread the breadth, Deeply investigate the artistry, select the appropriate masterpiece, and adapt it from the plot and the spiritual core of the story. In a word, the adaptation of foreign masterpieces plays an important role in promoting the development of Chinese films, and it is also a win-win situation between foreign masterpieces and Chinese films.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I106;J904

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