麦家谍战影视剧的叙事研究
发布时间：2019-04-20 16:01
【摘要】：麦家作为作家,他的小说有着流畅的语言,独特的内容。麦家凭着《暗算》—举拿下了第七届茅盾文学奖。麦家谍战类小说中有着突出的特色,天才破译密码,寻找间谍的推理,奇人异事的展现,吸引眼球的智力博弈这些元素融合在战争历史故事中,既严肃又深刻,既浪漫又残酷。在新世纪谍战剧热潮中,麦家的小说作品纷纷被改编成谍战影视剧。麦家作为谍战影视剧类型作家的突出代表,因其票房与口碑的双丰收具有典型性。麦家的重要谍战小说除了《解密》没有被拍成影视改编作品以外,其他作品都被搬上了银幕。目前为止,麦家谍战电视剧有四部：《暗算》、《风声传奇》、《风语》、《刀尖上行走》。电影有《听风者》、《风声》两部。这些谍战影视剧都改编自麦家的小说,是麦家小说的影视化呈现。麦家除了写小说以外,还充当编剧角色。学者们针对麦家某部影视作品的分析散见于各报刊杂志,且文学研究重于影视研究。本文的研究对象是麦家谍战影视剧的叙事,是把麦家的谍战影视作品文本作为一个整体,从改编的角度解析叙事,进而进一步阐明麦家文学作品改编的特点和价值并指出其叙事文本的缺失和不足。 前言从选题意义、概念界定、文本选取三个方面廓清文章范围,为后文的叙述奠定了基础。 第一章运用空间理论论述叙事的空间特性美学,阐述影视文本中多重的空间维度和丰富的意象内涵。本文把麦家放在当下谍战热潮中指出麦家谍战影视剧在营造叙事空间的独特之处,从密室、密码与道具、战场、镜头四个方面展现其叙事空间。 第二章从叙事策略方面论述谍战影视剧的叙事特点。麦家谍战影视文本中感情元素和人物性格参与了叙事,设置了层层悬念,开掘了深刻的主题,巧妙的运用情节突变和逆转,运用了智力元素和二元对立模式,塑造了生动的人物形象。这些故事建构的策略激发了观众的观赏欲望,调动了观众的兴趣。这些策略显然是编导精心安排设计的,既有效的指向观众,也富有创造力体现了叙事规律。谍战影视剧在叙事策略上形成了一定的程式和规范,麦家的谍战影视剧作为其典型既体现了这些程式和规范,也逾越着常规化的程式和规范。 第三章揭示麦家谍战影视剧叙事文本的缺失和不足。从改编媚俗化性别化、剧作粗糙化同质化、主题模糊化、叙事平庸化四个方面提出批评并分析造成这些缺失和不足的原因。本文既有传统的文本研究,又将麦家的谍战影视剧置于意识形态和消费市场内加以审视和思索,既有叙事学的基础理论,也涉及接受美学和心理学等学科,为优秀文学作品改编成类型电影、类型电视剧提供富有意义的启示,为影视剧的叙事提供借鉴。
[Abstract]:As a writer, his novels have fluent language and unique content. The Maijia won the Seventh Mao Dun Literature Award on the basis of "Secret calculation". There are some outstanding features in the novels of Mission ultimatum, such as genius deciphering codes, searching for espionage reasoning, unfolding strange things, attracting the attention of intelligence game, which are both serious and profound, romantic and cruel in the history of war stories. In the New Century ultimatum drama boom, Maijia novels have been adapted into espionage TV series. As a prominent representative of espionage film and TV drama writers, Maijia has a typical double harvest of box office and word-of-mouth. Except for decryption, McClay's important espionage novels have not been filmed and adapted, and other works have been put on the screen. Up to now, there are four TV dramas of Mai Jia espionage: secret calculation, Legend of the Wind, Wind language, Walking on the knife Tip. There are two films: the one who listens to the wind and the sound of the wind. These espionage dramas are adapted from the Maijia novels, which are the visual presentation of the Maijia novels. In addition to writing novels, the McClan also acted as a screenwriter. Scholars' analysis of a movie and television work of the Maijia family is scattered in various newspapers and magazines, and literary research is more important than film and television research. The research object of this paper is the narration of the Maijia espionage movie and TV drama, which is to analyze the narration from the angle of adaptation, taking the text of the Maijia espionage war film and television works as a whole. Furthermore, it further clarifies the characteristics and value of the adaptation of Maijia literature and points out the lack and deficiency of its narrative text. The preface clarifies the scope of the article from three aspects: the meaning of the topic, the definition of the concept and the selection of the text, which lays the foundation for the later narrative. The first chapter uses the space theory to discuss the space characteristic aesthetics of narration, and expounds the multi-dimensional dimension and abundant image connotation in the film and television text. In this paper, the author points out the unique features of Maijia espionage TV drama in creating narrative space in the current spying craze, showing its narrative space from four aspects: secret room, password and props, battlefield and lens. The second chapter discusses the narrative characteristics of espionage movies and TV dramas from the perspective of narrative strategy. The emotional elements and characters in the movie and television texts of the Maijia espionage war participated in the narrative, set the suspense layer by layer, excavated the profound theme, skillfully used the plot mutation and reversal, and used the intellectual element and the dualistic opposite mode. Has shaped the vivid character image. The strategies of constructing these stories stimulate the audience's desire to watch and arouse the audience's interest. These strategies are clearly orchestrated and designed to point effectively at the audience as well as to embody the laws of narration. Espionage TV dramas have formed certain programs and norms in narrative strategy, and McClay's espionage TV dramas are typical of them not only embody these programs and norms, but also exceed the routine programs and norms. The third chapter reveals the lack and deficiency of the narrative text of Maijia espionage movie and TV drama. This paper puts forward criticism from four aspects: vulgarization of adaptation, coarsening of dramas, fuzziness of theme and mediocrity of narration, and analyzes the causes of these deficiencies and inadequacies. This article not only has the traditional text research, but also puts the wheat family espionage movie and TV series in the ideology and the consumer market to examine and ponder, not only has the narratology basic theory, also involves accepts the aesthetics and the psychology and so on the discipline, It provides meaningful enlightenment for the adaptation of excellent literary works into genre movies and TV series, and provides reference for narrative of film and TV dramas.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
[Abstract]:As a writer, his novels have fluent language and unique content. The Maijia won the Seventh Mao Dun Literature Award on the basis of "Secret calculation". There are some outstanding features in the novels of Mission ultimatum, such as genius deciphering codes, searching for espionage reasoning, unfolding strange things, attracting the attention of intelligence game, which are both serious and profound, romantic and cruel in the history of war stories. In the New Century ultimatum drama boom, Maijia novels have been adapted into espionage TV series. As a prominent representative of espionage film and TV drama writers, Maijia has a typical double harvest of box office and word-of-mouth. Except for decryption, McClay's important espionage novels have not been filmed and adapted, and other works have been put on the screen. Up to now, there are four TV dramas of Mai Jia espionage: secret calculation, Legend of the Wind, Wind language, Walking on the knife Tip. There are two films: the one who listens to the wind and the sound of the wind. These espionage dramas are adapted from the Maijia novels, which are the visual presentation of the Maijia novels. In addition to writing novels, the McClan also acted as a screenwriter. Scholars' analysis of a movie and television work of the Maijia family is scattered in various newspapers and magazines, and literary research is more important than film and television research. The research object of this paper is the narration of the Maijia espionage movie and TV drama, which is to analyze the narration from the angle of adaptation, taking the text of the Maijia espionage war film and television works as a whole. Furthermore, it further clarifies the characteristics and value of the adaptation of Maijia literature and points out the lack and deficiency of its narrative text. The preface clarifies the scope of the article from three aspects: the meaning of the topic, the definition of the concept and the selection of the text, which lays the foundation for the later narrative. The first chapter uses the space theory to discuss the space characteristic aesthetics of narration, and expounds the multi-dimensional dimension and abundant image connotation in the film and television text. In this paper, the author points out the unique features of Maijia espionage TV drama in creating narrative space in the current spying craze, showing its narrative space from four aspects: secret room, password and props, battlefield and lens. The second chapter discusses the narrative characteristics of espionage movies and TV dramas from the perspective of narrative strategy. The emotional elements and characters in the movie and television texts of the Maijia espionage war participated in the narrative, set the suspense layer by layer, excavated the profound theme, skillfully used the plot mutation and reversal, and used the intellectual element and the dualistic opposite mode. Has shaped the vivid character image. The strategies of constructing these stories stimulate the audience's desire to watch and arouse the audience's interest. These strategies are clearly orchestrated and designed to point effectively at the audience as well as to embody the laws of narration. Espionage TV dramas have formed certain programs and norms in narrative strategy, and McClay's espionage TV dramas are typical of them not only embody these programs and norms, but also exceed the routine programs and norms. The third chapter reveals the lack and deficiency of the narrative text of Maijia espionage movie and TV drama. This paper puts forward criticism from four aspects: vulgarization of adaptation, coarsening of dramas, fuzziness of theme and mediocrity of narration, and analyzes the causes of these deficiencies and inadequacies. This article not only has the traditional text research, but also puts the wheat family espionage movie and TV series in the ideology and the consumer market to examine and ponder, not only has the narratology basic theory, also involves accepts the aesthetics and the psychology and so on the discipline, It provides meaningful enlightenment for the adaptation of excellent literary works into genre movies and TV series, and provides reference for narrative of film and TV dramas.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
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