从文学到电影——《春琴抄》及其电影改编  

From Literatureto Film:A Study on The Story of Shunkinsho and its Film Adaptation

作　　者：苗静[1] 宋刚[2] MIAO Jing;SONG Gang

机构地区：[1]长春理工大学,长春1300222 [2]北京外国语大学,北京100089

出　　处：《上海视觉》2025年第1期78-83,共6页Shanghai Vision

基　　金：国家社科基金重大招标项目“新世纪东方区域文学年谱整理与研究(2000-2020)”(编号:17ZDA280);国家社会科学基金青年项目“现代主义文脉与战后日本(1945-1960)”(编号:20CWW005)。

摘　　要：小说《春琴抄》是日本近代唯美主义作家谷崎润一郎移居日本关西地区之后发表的作品,也是日本电影史上第一部被翻拍为电影的纯文学作品。谷崎文学的电影化,标志着纯文学向大众文学的转化,是讲述谷崎文学与电影关系时不可忽视的事实。分析导演西川克已版本的电影《春琴抄》,能够看出小说与电影两种不同文艺形式在表现方式上的差异。电影导演通过展示春琴的内心世界和性格魅力,使春琴在电影中成为真正的女主角。同时,导演尽量将故事情节改编得浅显易懂,改变了《春琴抄》层层重叠的结构,描述了即使没有读过原著的非知识阶层观众也能理解的通俗故事。The Story of Shunkinsho is a work published by Japanese aesthetic modernist writer Tanizaki Jun'ichiro after relocating to the Kansai region.It holds the distinction of being the first pure literature work adapted to film in Japanese cinema history.The cinematization of Tanizaki's literature,marking the transformation from pure to popular literature,represents an essential aspect of understanding the relationship between Tanizaki's writing and film.Analysis of director Nishikawa Katsumi's film adaptation of The Story of Shunkinsho reveals the distinct expressive differences between novel and film as artistic forms.Through portraying Shunkin's inner world and character appeal,the film director establishes her as the true female protago-nist.Additionally,the director simplifies the plot for easier comprehension,altering the original's layered narrative structure to create an accessible story that non-literary audiences can under-stand without having read the source material.

关 键 词：春琴抄 叙事方式 女性形象 触觉世界 心理活动 

分 类 号：J905[艺术—电影电视艺术]