从《太太万岁》和《不了情》看张爱玲电影与其小说的差异及其成因  

On the Differences between ZHANG Ailing's Novels and Their Film Adaptations Viewed from Long Live My Missis and Love without End

作　　者：王一平 张体坤[2] WANG Yiping;ZHANG tikun(Center for Research of Chinese New Literature,Nanjing University,Nanjing,Jiangsu 210023,China;School of Liberal Arts,Xi'an University of Architecture and Technology,Xi'an,Shaanxi 710311,China)

机构地区：[1]南京大学中国新文学研究中心,江苏南京210023 [2]西安建筑科技大学文学院,陕西西安710311

出　　处：《贵州大学学报（艺术版）》2022年第1期82-89,共8页Journal of Guizhou University Art Edition

基　　金：2018年度国家社科基金重大招标项目“中国现代电影文学资料发掘、整理与资源库建设”(项目编号:18ZDA262)。

摘　　要：作家张爱玲以文字为载体呈现出的小说世界与编剧张爱玲以影像为载体描摹出的电影世界存在着极大的差异。张爱玲编剧的电影展现了一个如拉康所言的象征的世界,是建立在秩序与规则之上的,是二元对立的。而张爱玲的小说世界却是多元的,非秩序的,“符号态的”。There are great differences between the fictional world portrayed by the writer ZHANG Ailing with words as the carrier and the film world presented by the screenwriter ZHANG Ailing with images as the carrier.ZHANG Ailing's films shows a symbolic world as what Lacan stated that is in binary opposition based on orders and rules.However,ZHANG Ailing's fictional world is pluralistic,disorderly and“semiotic”.

关 键 词：张爱玲 象征 符号态 《太太万岁》 《不了情》 

分 类 号：J905[艺术—电影电视艺术]