新世纪聊斋电影的改编脉象和原因探析  

Analysis of the Adaptation Pulse and Reasons of the New CenturyLiaozhai Movies

作　　者：赵庆超[1] 夏菲凡 ZHAO Qing-chao;XIA Fei-fan(School of Humanism,Jinggangshan University,Ji'an 343009,China)

机构地区：[1]井冈山大学人文学院,江西吉安343009

出　　处：《蒲松龄研究》2023年第3期101-115,共15页Study on Pu Songling

基　　金：江西省文化艺术基金项目“新世纪中国电影改编研究”(编号:2019049WX02C)。

摘　　要：受到大众文化、网络语境和新媒体技术的催生,新世纪以来的聊斋题材影片出现了宗教元素泛滥、情感戏份膨胀、闹剧精神蔓延的改编脉象。制作者对虐恋、同性恋、无厘头、“二次元”、御宅以及萌文化等多种外来亚文化元素的借用与整合,为聊斋电影改编提供了多种机遇,也孕育着重重的危机。因此,立足于文化传承与创新的思考基点,勘探改编过程中出现的艺术盲点,防范因为改编不当而可能带来的话语风险,进一步为新时代文艺添砖加瓦,将显得迫切而重要。Driven by popular culture,online context,and new media technology,Liaozhai themed films in the new century have seen a flood of religious element codes,a continuous expansion of emotional scenes,and the growth of farce spirit in adaptation.Producers'borrowing and integration of various foreign cultural elements,such as sadistic subculture,homosexual subculture,Wulitou subculture,“anime”culture,yuzhai culture,and meng culture,have provided multiple opportunities for Liaozhai film adaptation,and also bred numerous crises.Therefore,based on the thinking basis of cultural inheritance and innovation,exploring the artistic blind spots that arise during the adaptation process,preventing the potential discourse risks caused by improper adaptation,and adding bricks and tiles to the prosperity of literature and art in the new era,will be urgent and important.

关 键 词：新世纪 《聊斋志异》 电影改编:宗教 闹剧 

分 类 号：J905[艺术—电影电视艺术]