电影编剧视域下《聊斋志异》叙事艺术考察  

A Survey of the Narrative Art of Strange Tales of a Lonely Studio from the Perspective of Film Screenplay

作　　者：龚金平 GONG Jinping(Art Education Center,Fudan University,Shanghai 200433,China)

机构地区：[1]复旦大学艺术教育中心,上海200433

出　　处：《湖南工业大学学报（社会科学版）》2024年第2期113-120,共8页Journal of Hunan University of Technology(Social Science Edition)

基　　金：教育部人文社会科学重点研究基地重大项目“中国古代文学作品的影视改编与传播研究”(15JJD750006)。

摘　　要：从电影编剧角度看,《聊斋志异》大量运用插叙、补叙,容易削弱小说的悬念感和吸引力,而一个叙事文本中出现多条情节线索时,作者未必仔细考虑了这些线索之间的互文或者对话关系,这就导致其文本缺乏情节设置上的严谨性和主题表达上的力度;缺乏结构意识或者说对叙事节奏把握的不理想,导致《聊斋志异》的叙事要么铺垫阶段过长,要么人物在“对抗”阶段遇到的障碍没有强度和挑战性,其障碍的解决方式则过分依赖“神迹”。此外,《聊斋志异》的叙事重心在于“事”,尤其是关注“事”之“奇异”,而对人物刻画似乎并不在意,其人物刻画方式单一。《聊斋志异》的叙事手法在当时可能具有合理性甚至超前性,但在进行电影改编时,其需要进行创造性的转换之后,才能符合电影编剧的要求。From the perspective of Film Screenplay,the extensive use of interludes and supplementary narrations in Strange Tales of a Lonely Studio may easily weaken the suspense and attraction of the novel.When multiple plot clues appear in a narrative text,the author may ignore the intertextuality or dialogue relationship among these clues,which leads to a lack of rigor in plot setting and strength in theme expression;Lack of structural awareness or unsatisfactory grasp of narrative rhythm leads to either a lengthy foreshadowing stage in the narrative of Strange Tales of a Lonely Studio,or the obstacles encountered by the characters in the“confrontation”stage are not strong and challenging,and the solution to the obstacles relies excessively on“miracles”.In addition,the narrative focus of Strange Tales of a Lonely Studio is on“plot”,especially the“strangeness”of“plot”,while it doesn’t seem to care about the characterization,and its characterization method is single.The narrative techniques of Strange Tales of a Lonely Studio seems reasonable and even advanced at that time,but when adaptingfilms,creative transformations is needed to meet the requirements offilm screenplay.

关 键 词：《聊斋志异》 电影改编 电影编剧 叙述方式 结构方式 人物刻画方式 

分 类 号：I207.41[文学—中国文学]