华丽的后现代主义:1996版电影《罗密欧与朱丽叶》的跨媒介改编策略  

Grand Postmodernism:the Cross-media Strategy of the 1996 Romeo and Juliet

作　　者：吴笑云 WU Xiaoyun(Dalian University of Foreign Languages,Dalian 116044,China)

机构地区：[1]大连外国语大学,辽宁大连116044

出　　处：《滁州职业技术学院学报》2024年第3期96-100,共5页Journal of Chuzhou Polytechnic

基　　金：大连外国语大学2024年研究生创新项目(YJSCX2024-107)。

摘　　要：文学作品跨媒介改编是一个艺术重铸与再创造的过程。在经典戏剧基础之上,巴兹·鲁赫曼导演的后现代主义风格电影1996美国版《罗密欧与朱丽叶》,是一部移花接木式的作品,利用“拆解”“戏仿”“拼贴”等方式对文学大师莎士比亚和戏剧界权威进行了反叛与消解,以其充满个性和现代主义元素的改编让人耳目一新。除了在场景、音乐、道具上折射出美国现代消费文化等社会背景之外,语言方面对原著诗性台词的选择性保留和改写、叙述方式上对现代媒介社会的表现均体现了鲁赫曼的个性风格和对当代社会现实的反思。Cross-media adaptation of literary works is a process of artistic recasting and re-creation.On the basis of the classic drama,Baz Luhrmann's postmodernist style film the 1996 American version of Romeo and Juliet is a work of transposition,using"disassembly","parody","collage"and other ways to rebel and dissolve the cultural master Shakespeare and the authority of the theater.It is refreshing with its adaptation full of personality and modernist elements.In addition to reflecting the social background of modern American consumer culture in scenes,music and props,the selective retention and rewriting of original poetic lines in language and the performance of modern media society in narrative mode all reflect Luhrmann's personality style and reflection on contemporary social reality.

关 键 词：《罗密欧与朱丽叶》 跨媒介改编 后现代主义 美国社会 

分 类 号：J905[艺术—电影电视艺术]