“互文性”视阈下当代影视改编的研究.docVIP

摘  要  影视改编伴随着影视业的诞生而勃兴，一部以代际为线索的影视改编史几乎等同于 影视发展史本身。从初期的通俗商业片到人文探索式的奠基，从主流意识形态的代言人 到后撤式的改良主义者，从寓言化的宏大叙事到边缘角色的个人化独白，每一代电影人 都在无意识的艺术探索中力革前代人之弊，并从中逐渐形成自身的创作风格和改编特 色。 “互文性”理论和“模因”论的引入为影视改编工作提供了崭新的研究思路，一方 面为“类型片”概念的合理性做出了有力论证，一方面也为影视改编的类型划分提供了 清晰的分类标准，成为影视改编研究中贯穿始末的线索和万能的理论工具。 电影与梦有着惊人的相似。电影与历史的关系，也正如梦与现实一般，既有着相当 分明的泾渭，又相互影响和转化。影视改编作为记录历史与经典的一种方式，纵向世代 流传形成一代人的集体记忆，横向跨区域传播铸就民族乃至国家的形象。由此可见，影 视改编的实质就在于媒介转换，无论是从文字文本到影像文本，还是从社会文本到影像 文本，其共通之处都在于利用不同的改编手法将事件、人物、对白、场景形象化，利用 影视媒介的图像化优势使之具备更强的传播力。 伴随着当代影视业的飞速发展，剧本荒引发的影视作品跟风、低俗、恶搞现象逐渐 凸显出来，且部分影视改编作品中存在着对历史的严重误读现象。这就要求影视行业抓 紧建设起高素质的编剧队伍，大力提倡编导合一的人才结构，突出编导的主体地位，不 断强化影视从业人员的历史使命感，并加强对相关题材影视作品的监管力度，以“内容 为王”的理念引导影视媒介的持续、健康发展。 关键词：互文性，模因，影视改编，编导合一 I ABSTRACT Movie and TV adaptation has been developmented with the birth of film and television industry,the History of adaptation with the clue of intergenerational almost the same as Television history of their own. From the early popular commercial films to the founder of humanistic exploratory, from the mainstream ideology of the reformist voice to the retreat-style,from the parable of the role of the grand narrative to the edge of the personal monologue,each generation of filmmakers were in the unconscious power of art explore to reform the prior generation of their disadvantages, and gradually formed its own creative style and adaptation characteristics. The introduction for the film adaptation theory provided a new research ideas，On one hand make a strong argument for the concept of genre,on the other hand, provide a clear classification for film type, become the the clues of film adaptation researchment and the universal theory tools. Films and dreams are surprisingly similar. The relationship between film and history, just as dream and reality, not only entirely different ,but also influence and transform each other, film adaptation as a way of record the classic and history，vertical spread from generation to generation as a collective memory of younger generations, horizontal disse