电影改编叙事缺失了什么?——从麦克尤恩的《赎罪》说起  

What Does the Cinematic Adaptative Narration Lose?——Ian McEwan's Atonement as a Case Study

作　　者：黄一畅[1] 

机构地区：[1]南京大学外国语学院,江苏南京210093

出　　处：《外语教学》2012年第5期82-85,共4页Foreign Language Education

摘　　要：时下好莱坞电影对文学作品的改编蔚然成风,扣人心弦的故事情节加上电影明星的票房号召力使得改编后的电影炙手可热。然而在从文本到电影的媒介转换中,电影叙事往往缺失了原著特有的叙事主体意识。本文以英国当代作家伊恩.麦克尤恩迄今最受欢迎的作品《赎罪》为研究对象,着重考察了原著和电影版本叙事结构和主题呈现上的不同,指出以空间艺术形式见长的电影叙事很难承载文字的意图所指,这是电影改编,尤其是后现代文本改编实践中无可避免的尴尬。The adaptation of literary works in Hollywood is popular in recent years, as the absorbing plot and the box office appeal from superstars attribute to the prevalence of films. However, during the media transferenee from text to film, the einematic narrative usually loses the original subjectivity of narrative consciousness embedded in the text. Taking Ian McEwan＇ s most applauded novel Atonement as a case study, this paper explores the discrepancy of narrative structure and subjective presentation between the text and film adaptation, purporting to argue that cinematic narrative, advanced in visual presentation though, is hardly capable of shouldering the narrative significance endowed by letters, which is an inevitable awkwardness in cinematic adaptation, particularly, in the adaptation practice of postmodern literary texts.

关 键 词：《赎罪》 电影改编 叙事意识 

分 类 号：I565.074[文学—其他各国文学]