诗化小说改编电影中的叙事策略研究  

The Narrative Method in the Film Adaptation of Poetic Novels

作　　者：徐强[1] 田雨萌 XU Qiang;TIAN Yumeng(School of Arts,Northeast Normal University,Changchun 130024,China)

机构地区：[1]东北师范大学文学院,吉林长春130024

出　　处：《重庆邮电大学学报（社会科学版）》2021年第3期124-133,共10页Journal of Chongqing University of Posts and Telecommunications(Social Science Edition)

基　　金：教育部哲学社会科学研究项目(20JHQ047)。

摘　　要：20世纪80年代,随着改编和叙事理论在电影中的相互渗透,不为传统电影所接纳的诗化小说进入了改编视野,在非线性叙事、韵律化语言及抒情性主题方面,同脱离了戏剧拐杖、寻求自身语言发展的电影媒介产生了契合。诗化小说的电影改编考察此类(不以故事为中心的)文本向电影转化过程中的叙事策略,认为在故事内容方面,变情节结构为情感结构,由主观性鲜明的叙述者现身主导叙事的走向;在叙事话语方面,化现实空间为内心空间,以现代化的电影语言打造如诗般的影像意境。改编后的影片以其鲜明的叙事抒情化和影像写意化,树立了属于诗化电影的独特风格,为中国电影拓展了富有东方审美意趣的影像类型,为中国电影意境论的理论建设丰富了案例,也为当代融媒体背景下的中国电影创作提供了参照。In the 1980 s,with the integration of adaptation method and narrative theory in films,poetic novel has become a new adaptation object. The poetic novel accords with the film art in non-linear narration,rhythmic language and lyrical themes. Narrative methodology is essential in the transformation of such unconventional literary form into film art. In terms of story construction,the plot structure is transformed into an emotional one;as for film depiction,the real space is transformed into an inner one,producing poetic artistic space with modern film language. Therefore,the poetic film style featuring narrative lyricization and image freehand is established,which extends Chinese film types with oriental aesthetics,increases more cases for film artistic conception theory,and also provides a reference for Chinese film creation under contemporary convergence media.

关 键 词：诗化小说 改编理论 电影叙事 电影意境 诗的电影 

分 类 号：J905[艺术—电影电视艺术]