从书面叙述到影像叙述的文本变化特征--以电影《背靠背脸对脸》的改编为例  

How Textural Characteristics Change From Literal Narration to Visual Narration: A Case Study of Film Adatation on the Film Back to Back,Face to Face

作　　者：司达[1] Si Da

机构地区：[1]云南师范大学传媒学院

出　　处：《民族艺术研究》2018年第2期136-144,共9页Ethnic Art Studies

基　　金：国家社会科学基金项目“中国独立纪录片与国家文化安全研究”的阶段性成果,项目批准号:14CXW013

摘　　要：以中国电影史中的经典小说改编案例《背靠背脸对脸》为个案进行分析研究,可以总结出从书面叙事到电影叙事的改编过程中,因叙事时间的差异性而造成的文本变化特征。在针对中短篇小说的电影改编过程中,存在这样一种叙事时间悖论:即电影本该扩展小说内容,以延长叙事时间,然而其视觉形象直观性呈现的时间却又往往比文字叙事时间更短。而解决此悖论的方法,在于将改编重点立足于人物性格塑造的丰富性之上。改编的有效手段包括让矛盾冲突升级、强化人物性格、精简角色数量及提供高辨识度的视听体验等。小说家和电影导演对于故事主题、精神内涵表达的统一性,在书面叙事向电影叙事转换的过程中,起到了路标的作用。The paper probes how textural characteristics change in film adaptation from novelette. Base on a case study of a successful adaptation, the Chinese film Face to Face, Back to Back made in 1994, the paper claims that in transforming literal narration to film narration, a paradox occurs uncle the influence of varying the narrative time ： a film should have enrich the content of a novelette so as to extend narrative time, however, the visual image can be directly perceived, therefore a film needs less narrative time. In order to solve this paradox, the new adding contents in adaptation should emphasis on enriching and shaping characters＂ personality. Effective methods in film adaptation include escalating conflicts in plots, enhancing characters＂ personality, reducing the number of characters as well as providing distinguishing audio - visaul experience for the audience.

关 键 词：文学电影改编 《背靠背脸对脸》 《秋风醉了》 叙事学研究 

分 类 号：J90-05[艺术—电影电视艺术]