原著文学与改编电影中的不同叙事语法比较——以《潜水钟与蝴蝶》为例  

A Comparison of Different Narrative Grammars in the Original Literature and the Adapted Film-Taking Le Scaphandre et le Papillon as an Example

作　　者：蒋文心 JIANG Wenxin(Hong Kong Baptist University,Hong Kong,999077,China)

机构地区：[1]香港浸会大学,中国香港999077

出　　处：《文化创新比较研究》2024年第23期6-10,60,共6页Comparative Study of Cultural Innovation

摘　　要：电影叙事学研究起源于文学叙事学研究,然而电影发展至今,早已将文学叙事学理论进行了充分的“电影化”的改造,如今,文学场域和电影场域中的叙事语法已经存在显著差异。该文以《潜水钟与蝴蝶》的原著文学与改编电影为例,从经典文学叙事理论出发,从叙事时间、叙事空间和叙事视点三个维度对文学叙述语法和电影叙事语法进行比较分析,分别阐释了在进行影视改编时,如何对文学中叙事语法的不同维度进行电影语言的编码,并得出结论:经过对不同叙事语法的运用,文学语言比电影语言更加抽象,而电影语言比文学语言更具灵活性与表达张力。The study of film narratology originated from the study of literary narratology.However,since the development of film,theories of literary narratology has been fully"filmized".Nowadays,there are significant differences in narrative grammar between literary field and film field.Based on classical narrative theories of literature,this paper takes the original literature of Le Scaphandre et le Papillon and the adapted film as examples to make a comparative analysis of the two from three dimensions,which are narrative time,narrative space and narrative perspective,and to explain how to encode these narrative grammar of literature into film language.It can be concluded that through the application of different narrative grammars,literary language is more abstract than film language,while film language is more flexible and expressive than literary language.

关 键 词：电影改编 叙事语法 叙事时间 叙事空间 叙事视点 《潜水钟与蝴蝶》 

分 类 号：J904[艺术—电影电视艺术]