后情感主义视野下仙幻IP的改编策略研究--以热播剧《琉璃》为例  

A Study on the Adaptation Strategy of Fantasy IP Movie from the Perspective of Post-emotionalism:A Case Study of the Hit TV Show Love and Redemption

作　　者：张薇[1] 李胜利[1] ZHANG Wei;LI Shengli(School of Theatre,Film and Television,Communication University of China,Bering 100024,China)

机构地区：[1]中国传媒大学戏剧影视学院,北京100024

出　　处：《贵州大学学报（艺术版）》2021年第4期32-38,共7页Journal of Guizhou University Art Edition

摘　　要：2020年暑期,仙侠玄幻剧《琉璃》在网络平台播出,引发了一段时间内的追剧热潮。与《花千骨》《香蜜沉沉烬如霜》《三生三世枕上书》等“女性向”仙幻作品一样,该剧仍为观众呈现了一个“看上去很美”的爱情故事。剧中,略显公式化的情节不仅勾勒着主人公的爱情缘与事业线,使观众在愉悦与悲苦的两极情感中来回体验,亦显现出仙幻IP从文字到影像的一般改编策略和惯用转换技巧。事实上,《琉璃》的热播并非偶然,而是文化工业“情感可计算”的生动表现,亦是对社会学者梅斯特罗维奇所言说的“后情感”的销售。The fantasy drama Love and Redemption was broadcast on the network platform in the summer of 2020, which triggered an upsurge of binge-watching for a period of time. Like the fantasy works of "gynephilia", such as The Journey of Flower, The Honey Sank like Frost, Sansheng Sanshi Pillow, the play still presents the audience with a love story that "looks beautiful". In the play, the slightly formulaic plot not only outlines the protagonist’s love and career that capture the audience into bipolar emotions of pleasure and sadness, but also illustrates the adaptation strategy and habitual conversion skills of fantasy IP movie that are generally applied from texts to images. The popularity of Love and Redemption actually is not accidental but a vivid representation of the "emotional computability" of the cultural industry and a promotion of the "post-emotion" depicted by the sociologist Metrovic.

关 键 词：《琉璃》 后情感主义 仙幻IP 情感消费 改编策略 

分 类 号：J905[艺术—电影电视艺术]