论严歌苓小说的影视化特质

发布时间：2018-05-01 03:32

本文选题：严歌苓 + 小说　；参考：《山东大学》2013年硕士论文

【摘要】：美籍华人女作家严歌苓的小说被频繁改编后搬上荧幕,从最初的《天浴》举夺得金马奖的七项大奖一鸣惊人起,严歌苓的文学作品便引起了各大导演的广泛关注,并且在2012年张艺谋演绎的《金陵十三钗》达到顶峰。严歌苓的小说之所以在影视圈能够不断掀起被改编的热潮,首先归结于其小说自身具备特殊的素质,即其小说自身所具备的影视化特征。虽然不能构成被改编的必要条件,但是其小说中包含的影视化因素是小说与影视的共同之处的体现,也是严歌苓独立于其他作家与流派的重要特征。严歌苓的小说中常常运用的镜头式叙事、语言的精炼传神,以及对人性的细致入微的把握,都是影视化的因素在其作品中的体现。然而,究竟文学与影视的关系应该如何发展,要坚持一个原则,就是文学必须独立,不仅仅是独立于影视,而且要独立于政治、经济等任何一种干扰因素,唯有如此才能保证文学的纯粹性。前人对严歌苓的研究颇为全面透彻,分别从叙事、语言、女性主义、移民文学等方面着手,将严歌苓时而冷峻时而温婉的特点分析得比较到位。而本文则从严歌苓小说的影视化特质出发,着重分析小说与影视之间的相似之处,另辟蹊径,从不同的角度来对严歌苓小说进行关照。本文由前言、正文和结语三部分组成。前言主要介绍严歌苓小说改编的现状、学界对严歌苓小说研究的现状以及本文的创新点。正文共分为四章,第一章是立体的语言描写,主要分析严歌苓小说中的动作描写和语言描写。严歌苓的动作描写具有立体化的特征,人物语言在情节推进上也起到关键的作用。作为构建整篇小说的基石,语言在小说的叙事中起到举足轻重的作用,严歌苓也十分重视语言的运用,在动作描写和人物语言描写上用功颇深。严歌苓的动作描写具有鲜明的视觉性和色彩。她不仅仅将故事局限在平面的纸上,而是通过生动的语言来将故事立体地呈现出来,这是其小说的影视化特征的重要表现之一。《穗子物语》中通过小穗子这个舞者的动作描写,不仅细致到位地描写出了人物曼妙的舞姿,更是展现出人物的内心处境和心理变化,对于人物性格的塑造也大有帮助——舞蹈动作作为肢体语言的一种,也是人物性格和内心想法的外在表现。《金陵十三钗》中有一段长达14页动作描写,其中详细地描绘了玉墨的舞姿、书娟的偷窥、以及戴涛等军人的肢体动作。《穗子物语》中叙事主角的不断转换塑造出一种立体的叙事空间,作者将一个人的处境从不同的角度来进行关照,从而更加深入细致地展现人性和塑造人物内心。《金陵十三钗》、《陆犯焉识》等小说也经常在第三人称叙事和全知者叙事之间相互转换,而具体到某个动作的描写上,却是讲究精准到位,细致到人物的一次举手、一个眼神、一次呼吸,都要精确地表现出来。在色彩性上,严歌苓笔下不乏鲜艳的色彩：女性的着装、漫山的野花、精美的装饰……这些都是女性特有的细腻心思注意到的细节,也正是这些细节,为小说营造了精致的故事空间,也是影视化的一个表现。与此同时,严歌苓小说中的人物语言在一定程度上推动了情节的进展,这一点在文中第一章第二节中有所介绍。第二章是叙事手法中的电影特质,本章从叙事手法、叙事角度、叙事题材上进行分析,主要分析小说中的影视化特质,即小说与影视相类似的因素,本章是该论文的重心所在。严歌苓小说的叙事顺序独具特色。她的叙事就像一台摄影机,随着它的推进拉远,我们能够像观影一般去感受她笔下人物的世界。严歌苓的小说中常常运用到类似电影镜头的描写手法,我将其总结为镜头式叙事手法。其小说中的镜头式叙事我将其归纳为两种：一是缓慢推进的长焦镜头式叙事,二是注重细节刻画的特写镜头式叙事。除了镜头式的叙事手法,严歌苓的小说还具有独特的叙事顺序,叙事顺序的多元化使其小说充满张力,倒叙、预叙、插叙灵活运用,而她也不仅仅满足于此,长期接触电影编剧行业为其小说创作增添了新的活力：类似于倒叙的“闪回”、电影中的“画外音”和平行叙事的预叙。同时,在题材的选择上,严歌苓小说通常都选择了动荡岁月的非典型故事为小说题材,这类题材的选择首先与作家的自身经历密切相关,与此同时在动荡年代的非典型故事中,她所追寻的是人性的本来面目。第三章是对人性的深刻揭露,对人性挖掘的深度是小说与影视共同的特性,本章对人性的分析也是影视化特质的一个方面的内容。凡是优秀的,无论是文学作品还是影视作品,同时具备的因素除了巧妙的情节设置、鲜明的人物性格外,最重要的是作品的深刻意义。而作品的深刻意义往往是题材、人物、语言等因素所不能决定的,起决定性作用的还是作品中对人性的揭露和刻画。对人性的深入刻画和描写是文学与电影共同追求的目标,但由于文学与电影的传播方式不同,文字叙述与图像展现所达到的效果不同,文学在人性刻画上永远走在电影前面。严歌苓以女性的视角对人性的入木三分的刻画是严歌苓小说的核心价值所在,也是严歌苓小说之所以能够获得读者好评、受到导演关注的最重要因素。本文中对严歌苓小说中人性的探寻分为两部分：跨文化语境下的人性探寻和困境中的人物探寻,这两部分能够更好地涵盖严歌苓的创作。在本章中,我将《小姨多鹤》归入移民小说中,是本文的创新点之一。第四章是文学与影视的关系初探,是对文章主题的延展,主要讨论纯文学的发展前途问题。当下纯文学的发展面临窘境,纸质书是否会消失这个话题一直萦绕在耳边,而与影视的联姻无疑是解救纯文学发展困境的一个良方,但是在联姻过程中如何防止纯文学变质是该良方能否奏效的症结所在。首先文学的独立性不可否定,在文学的力量尚不够强大的今天,借助影视的力量来助文学一臂之力是可取的,但是切不可抹杀文学的独立地位。其次影视对文学发展的推进作用不可小觑影视的影响力和影响范围都是纯文学所不能企及的,如何利用影视传媒来扩大文学的影响力和号召力,是十分值得关注的问题。鉴于以上两点,本文从“语图”理论出发,对文学与影视的关系应如何发展阐明了自身的看法。
[Abstract]:The novel of American Chinese female writer Yan Geling has been adapted to the screen after frequent adaptation, and from the first seven awards of the Golden Horse Prize in the first "Heaven bathing", Yan Geling's literary works have aroused wide attention of the major directors, and at the peak of the "Jinling thirteen hairpin" in 2012, Zhang Yimou's deduction is at the top. The reason for Yan Geling's novel is The film and television circle can constantly raise the upsurge of adaptation. First of all, it comes down to the special qualities of the novel itself, that is, the film and television characteristics of the novel itself. Although it can not constitute the necessary conditions for the adaptation, the film and television factors contained in the novel are the embodiment of the common features of the novel and the film and television, and the independent of Yan Geling. The important features of his writers and genres are the lens style narrative which is often used in Yan Geling's novels, the refinement of the language, and the subtle grasp of the human nature, all of which are the embodiment of the film and television factors in his works. However, how the relationship between literature and film and television should develop and adhere to a principle is that literature must be independent. It is not only independent of film and television, but also independent of politics, economy and so on. Only in this way can the purity of literature be guaranteed.
From the aspects of narration, language, feminism and emigration literature, the research of Yan Geling is in place. The characteristics of Yan Geling's cold and gentle features are analyzed. This article, starting from the film and television characteristics of Yan Geling's novels, focuses on the similarities and differences between novels and films and films. The novels of Yan Geling were taken into account in different angles.
This article is composed of three parts: preface, text and conclusion. The preface introduces the current situation of Yan Geling's novel adaptation, the present situation of the study of Yan Geling's novel and the innovation point of this article.
The text is divided into four chapters. The first chapter is a three-dimensional language description. It mainly analyzes the movement description and language description in Yan Geling's novels. Yan Geling's action description has three dimensional characteristics, and the character language plays a key role in the plot. As the cornerstone of the whole novel, the language plays an important role in the narrative of the novel. Yan Geling attaches great importance to the use of language and is very diligent in movement description and character description. Yan Geling's action description has distinct visual and color. She not only limits the story to the flat paper, but presents the story in a vivid language, which is the film and television of his novels. One of the important features of the feature. The description of the dancer in the word "tassel" is not only depicted in detail, but also shows the inner situation and psychological change of the characters, and is helpful to the characterization of the characters. The dance moves as a kind of body language and the character character. In the thirteen Chai of Jinling, there is a section of 14 pages of action description, which depicts the dancing posture of the jade ink, the peeping of the book, and the movement of the soldiers of Dai Tao. The view of the thirteen hairpin of Jinling, Lu crime and other novels often converts between the third person narration and the omniscient narrator, but on the description of a certain movement, it is a meticulous and meticulous hand, a look in the eyes. In the color character, Yan Geling's color: the dress of women, the wild flowers of the mountain, the exquisite decoration. These are all the details of the delicate thoughts of the women. These are the details that create a delicate story space for the novel, and it is also a manifestation of the film and television. At the same time, the language of characters in Yan Geling's novels has promoted the progress of plots to a certain extent, which is introduced in Chapter one and second.
The second chapter is the feature of the film in the narrative technique. This chapter analyzes the narrative techniques, the narrative angle and the narrative subject. It mainly analyzes the characteristics of the film and television in the novel, that is, the similar factors of the novel and the film and television. This chapter is the focus of the thesis. As it moves forward, we can feel the world of her characters like a view. In his novels, Yan Geling's novels are often applied to the description of the film lens. I summed it up as a lens narrative. In his novel, the lens narrative I summed it into two kinds: one is the slow motion of the long focus lens, and the two is Besides the lens style narrative technique, Yan Geling's novels also have a unique narrative order, and the diversification of the narrative order makes the novel full of tension, narration, narration and narration, and she is not only satisfied with this, but she has been exposed to the film writers industry for a long time. Vitality: similar to the "flashback" of the narration, the "out of picture" and the prenarration of parallel narration in the film. At the same time, in the choice of the subject, Yan Geling's novels usually choose the atypical story of the turbulent years as the novel subject. The choice of this kind of subject matter is closely related to the writer's own experience, and at the same time in the turbulent age. In typical stories, she is looking for the true colors of human nature.
The third chapter is a profound revelation of human nature. The depth of the excavation of human nature is the common characteristic of the novel and the film and television. The analysis of human nature in this chapter is also a part of the characteristics of the film and television. What is important is the profound meaning of the work, and the profound meaning of the work is often undetermined by the subject, the characters, the language and other factors. It plays a decisive role in revealing and depicting human nature in the works. The deep portrayal and description of the human nature is the object of the common pursuit of literature and film, but because of the different modes of communication between literature and film, The effect of literal narrative and image display is different. Literature is always in front of the movie. Yan Geling's portrayal of human nature in a female perspective is the core value of Yan Geling's novel. It is also the most important factor that Yan Geling's novel can obtain from the readers and the most important factor of director's attention. The exploration of the human nature in the novels of Yan Geling is divided into two parts: the exploration of human nature in the cross-cultural context and the search for the characters in the predicament. These two parts can better cover Yan Geling's creation. In this chapter, I put "little aunt and multiple Crane" into the immigrant novels, which is one of the innovative points of this article.
The fourth chapter is the exploration of the relationship between literature and film and television. It is the extension of the theme of the article. It mainly discusses the future of the development of pure literature. The development of pure literature is facing an embarrassment. The issue of the disappearance of paper books has been haunting in the ear. And the marriage with the film and television is undoubtedly a good way to save the development of pure literature, but it is married in marriage. In the process, how to prevent pure literary deterioration is the key to the effectiveness of the good party. First, the independence of literature can not be denied. Today, when the power of literature is not strong enough, it is advisable to help literature with the power of film and television, but it must not wipe out the independence of literature. Secondly, the role of film and television on the development of literature. The influence and the scope of influence of film and television can not be reached by pure literature. How to use film and television media to expand the influence and appeal of literature is a matter of great concern. In view of the above two points, this paper sets out from the theory of "language map" and illustrates how the relationship between literature and film and television should develop.

【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】：I712.074

【参考文献】