亨利 · 易卜生戏剧改编电影面临的困境分析——基于莎士比亚模式  

An Analysis of the Dilemma of Adapting Henrik Ibsen’s Plays to Film——Based on the Shakespearean Model

作　　者：李拉奇 Li Laqi(Department of Media Studies,Stockholm University,Stockholm,Sweden SE-10691)

机构地区：[1]斯德哥尔摩大学传媒学院,瑞典斯德哥尔摩SE-10691

出　　处：《西部学刊》2024年第19期130-133,共4页Journal of Western

摘　　要：将易卜生电影的匮乏视为一个经验性假设,以莎士比亚模式作为电影改编文学的有效前提。借助欧文·潘诺夫斯基和哈罗德·布鲁默的绝对论和相对论分析电影和戏剧的对立性和亲缘性,研究发现戏剧与电影并非纯粹的对立,但成功的改编得益于源文本在历史上的正典地位,安德烈·巴赞的非纯粹电影论则进一步突出了戏影互文的亲缘性。易卜生戏剧与莎士比亚戏剧一样具有天然的优先性和经典声望,但易卜生电影可谓时运不济,莎翁电影则名扬四海。美学策略的重新制定可能会帮助潜在的电影制作人受到莎士比亚模式和易卜生隐藏潜力的驱动,使得易卜生电影能够前仆后继地承接其现实主义的衣钵,但这样的历程仍将是困难的。Considers the the paucity of Ibsen’s films as an empirical hypothesis,using the Shakespearean model as a valid premise for film adaptation of literature.Drawing on Erwin Panofsky’s and Harold Bloom’s absolutism and relativism to analyse the antagonisms and affinities between film and play,the study finds that play and film are not pure opposites,but that the successful adaptations benefit from the original text’s canonical status in history,and AndréBazin’s theory of the impurity of films further highlights the affinities of play and film’s intertextuality.Ibsen’s plays are of equal natural priority and classical prestige to Shakespeare’s plays,yet Ibsen’s films can be described as ill-fated,and Shakespeare’s films are famous throughout the world.The reformulation of aesthetic strategies may assist potential filmmakers in being driven by Shakespearean model and Ibsen’s hidden potential,enabling Ibsen’s films to take up his mantle of realism forward and backward,but such a journey will still be difficult.

关 键 词：电影 易卜生戏剧 莎士比亚模式 对立性 亲缘性 

分 类 号：J905[艺术—电影电视艺术]