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作 者:张燕[1,2,3] 钟瀚声 Zhang Yan;Zhong Hansheng(School of Arts&Communication,Beijing Normal University,Beijing,100875;Research Centre of Asian and Chinese Films of Beijing Normal University,Beijing,100875;Ministry of Education Steering Committee of the Teaching of the Major of Theatre,Television and Films at Colleges and Universities)
机构地区:[1]北京师范大学艺术与传媒学院,北京100875 [2]北京师范大学亚洲与华语电影研究中心,北京100875 [3]教育部高校戏剧与影视类专业教学指导委员会
出 处:《民族艺术研究》2021年第5期15-23,共9页Ethnic Art Studies
基 金:2019年度国家社科基金艺术学一般项目“香港电影文学改编史(1949—2019年)”(项目批准号:19BC039)的阶段性研究成果。
摘 要:“鸳鸯蝴蝶派”作家张恨水的代表作《啼笑因缘》,在中国文学史上占有一席之地,同样也是中国电影文学改编的重要文本之一,这成为一百多年来中国电影史上值得关注的重要现象。1949年前上海的电影机构曾两次改编《啼笑因缘》;1949年以后,香港成为接纳这种通俗文学的重要场域。20世纪50至70年代,香港多家电影公司先后6次将这部集爱情、国难、武侠与都市景观等元素于一身的小说搬上银幕。通过不同时期香港电影公司对《啼笑因缘》差异性改编的比较,研究透析香港电影的美学流变与内外表现,可以更深刻地透视香港电影史中所呈现出的社会文化演变与港人意识、身份认同。The Story of Three Lovers,a work by Zhang Hensui,a writer of the School of Mandarin Duck and Butterfly,is an important literature in Chinese history of literature.Meanwhile,it is an important text which has been adapted in Chinese film literature,which is a noticeable phenomenon in the 100-year Chinese history of films.The Story of Three Lovers has been adapted for two times by film companies in Shanghai before 1949 and later,after 1949,Hong Kong became an important place to accept this kind of popular literature.During the 1950 s and 1970 s,this novel,which comprises of elements of love,national calamity,Kungfu and metropolis landscape,has been made into films by film companies in Hong Kong for six times.A comparison of the differences of the adaptation of Hong Kong film companies during different periods of time,it is possible to investigate the aesthetic changes and internal and external manifestation of Hong Kong films,so as to deeply interrogate the social and cultural changes,as well as the awareness and identity of Hong Kong people through the lens of the history of Hong Kong films.
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