美国漫威漫画作品的影视化研究

发布时间：2018-08-11 15:45

【摘要】：自2008年漫威娱乐公司的第一部电影《钢铁侠》上映后,在接下来的十年中,紧接着推出了《美国队长》、《无敌浩克》、《蚁人》、《奇异博士》等14部电影,《神盾局特工》、《特工卡特》两部电视剧,共6季,《夜魔侠》、《杰斯卡·琼斯》、《卢克·凯奇》三部网络剧,共4季以及《神盾顾问》、《47号物品》、《王者万岁》等五部视频短片。不仅在电影票房、电视剧的收视率和网络剧的点播率方面表现优异,更是运用了一种与以往电影或者电视剧完全不同的叙事手法,即电影、电视剧、网络剧、视频短片多平台跨媒介叙事,所有平台媒介中所叙述的内容处于同一个背景的世界中,各个平台媒介相互映衬,互有关联,称之为“漫威电影宇宙”。漫威制作的真人版超级英雄影视作品的成功,大程度的归功于“漫威电影宇宙”成功地构建。而“漫威电影宇宙”并不是由同一个开发团队进行制作,它由漫威娱乐公司旗下“漫威漫画”、“漫威影业”、“漫威电视”不同部门之间共同制作。每一个部门基于电影、电视剧、网络剧等不同的媒介特点,来选择适合进行改编创作的漫画超级英雄角色,并且根据不同的媒介性质,不同平台上的影视作品也有着不同的叙事方式。本文第一部分阐述漫威娱乐集团公司的各个子部门——“漫威漫画”、“漫威影业”、“漫威电视”的历史以及它们各自的分工。从而能够更好的分析漫威在电影、电视剧、网络剧等多个领域的跨媒介平台叙事,并且分析了漫威娱乐公司在迪士尼收购漫威影业进行重组后,给漫威影视作品带来的影响。第二部分从漫威影视作品的内容、时空观和漫威影视作品的人物塑造三个方面分析“漫威电影宇宙”的构建。第三个部分是本研究的重点章节,分析了不同媒介平台的不同特点,漫威影视作品在不同媒介平台上播出的原因,旨在探究漫威影视作品在多种媒介平台中跨媒介叙述的方式和作用。结语部分针对国内的影视作品呈现出的“IP(知识产权)”改编热潮,无论是经典名著《西游记》,还是现代小说《盗墓笔记》等,希望可以汲取漫威影视作品的成功经验,从而提出一些针对国内IP影视作品创作的建议。
[Abstract]:After Marvel Entertainment's first film, Iron Man, was released in 2008, the next decade, Then came "Captain America," Invincible Hulk, "Ant Man," Doctor Strange, "agents of S.H.I.E.L.I.E.L.D." and "Special Agent Carter," two TV dramas, a total of six seasons, "Night Devils," Jesca Jones, "and" Lu Ke Cage. " A total of 4 seasons and five short video clips, including Aegis consultant, item 47, and long live king. Not only did they perform well in the movie box office, the TV series and the on-demand rate of the network drama, but also they used a completely different narrative technique than the previous films or TV dramas, that is, movies, TV dramas, and network plays. Video short films are multi-platform and cross-media narration. All the content described in the platform media is in the same background world. Each platform medium is set off against each other and is related to each other, which is called "Marvel Film Universe". The success of Marvel's live-action superhero films is largely due to the successful construction of the Marvel Movie Universe. Instead of being produced by the same development team, Marvel Movie Universe is co-produced by Marvel Entertainment's Marvel Comics, Marvel Pictures and Marvel TV. Each department selects comic superhero characters suitable for adaptation based on different media characteristics such as movies, TV dramas, network dramas, etc., and according to their media nature, The film and television works on different platforms also have different narrative ways. The first part of this paper describes the history of Marvel Comics, Marvel Pictures, Marvel TV and their respective division of labor. In order to better analyze the multi-media platform narration of Marvel in film, TV series, network drama and so on, and analyze the influence that Marvel Entertainment Company brought to Marvel film and television works after the Disney acquisition of Marvel Pictures. The second part analyzes the construction of Marvel Film Universe from three aspects: the content of Marvel's film works, the view of time and space and the personage of Marvel's film works. The third part is the key chapter of this study, analyzes the different characteristics of different media platforms, Marvel film and television works broadcast on different media platforms, The purpose of this paper is to explore the ways and functions of the intermedia narration of Marvel film and television works in various media platforms. The conclusion part aims at the "IP (intellectual property)" adaptation craze that the domestic film and television works present, whether it is the classic masterpiece Journey to the West or the modern novel "Tomb Theft Notes", hoping to learn from the successful experience of Marvel's film and television works. Thus, some suggestions for the creation of domestic IP film and television works are put forward.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905

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