从话剧《野玫瑰》到电影《天字第一号》——中国间谍电影的类型生成及余脉追寻
发布时间：2019-08-16 19:41
【摘要】：1946年底,根据话剧《野玫瑰》改编而成的电影《天字第一号》,成为引领战后中国间谍电影摄制热潮的标杆之作。打入模式、身份置换、人物对话、误会、离间桥段以及三角人物关系等诸多类型元素,都被随后的间谍电影所直接复制效仿。不仅如此,1949年之后的中国电影中,《天字第一号》的类型余脉依然延续。可以说,《天字第一号》俨然成为一个不断衍生和再造的"超级文本"。
[Abstract]:At the end of 1946, the film Tianzi No. 1, adapted from the play Wild Rose, became the benchmark for leading the production craze of Chinese spy films after the war. Many types of elements, such as break-in mode, identity replacement, character dialogue, misunderstanding, alienation bridge and triangular character relationship, were copied and emulated directly by subsequent espionage films. Not only that, in Chinese films after 1949, the type of Tianzi No. 1 continues. It can be said that the first word of Heaven has become a continuous derivation and reconstruction of the "hypertext."
【作者单位】： 福建师范大学传播学院;
【分类号】：J905
，
本文编号：2527617
[Abstract]:At the end of 1946, the film Tianzi No. 1, adapted from the play Wild Rose, became the benchmark for leading the production craze of Chinese spy films after the war. Many types of elements, such as break-in mode, identity replacement, character dialogue, misunderstanding, alienation bridge and triangular character relationship, were copied and emulated directly by subsequent espionage films. Not only that, in Chinese films after 1949, the type of Tianzi No. 1 continues. It can be said that the first word of Heaven has become a continuous derivation and reconstruction of the "hypertext."
【作者单位】： 福建师范大学传播学院;
【分类号】：J905
，
本文编号：2527617
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