中國電影改編理論研究.pdf

1、吉首大學(xué)碩士學(xué)位論文中國電影改編理論研究姓名：毛攀云申請學(xué)位級別：碩士專業(yè)：文藝學(xué)指導(dǎo)教師：佘佐辰20100501ABSTRACT 第 ii 頁 ABSTRACT ABSTRACT This paper aims to observe the theory of Chinese film adaptation, analyzing the main culture hiding behind the Chinese film adap

2、tation, showing theoretical achievements of the theory of Chinese film adaptation. This project concentrates on faithfulness, creativity, and dramatization of the macro-characterization of adaption theory so as to reveal

3、 the main artistic view of the theory of Chinese film adaptation, facing adaption theory rather than analyzing film practice directly. There is historical logicality among faithfulness, creativity, and dramatization, whi

4、ch make up the system of theory of Chinese film adaptation together. This paper consists of three parts. The first one concludes and analyses the artistic view of faithfulness from the perspective of the original version

5、. Its theory rheology can be divided into three periods generally: a period of absolute respect being given to artistic works, absolute faithfulness to the original version and faithfulness to the original version in the

6、 way of films. Faithfulness has sped up the developments of film-adaptation practices and enriched film-making poetry. However, it itself has a theoretical paradox which is hard to reconcile as language transformation of

7、 different media. The second part concludes and analyses the artistic view of creativity from the perspective of films, during which the theory of creation and adaption is divided into three parts: a period of addition a

8、nd deletion, a period of recreation and a free-creating period. Creativeness shows respect for a multi-facet interpretation of texts and has promoted a multielement development of film-adaptation theories, though, it ill

9、ustrates artistic deviation of rationality and vangardism with some extreme creations reducing the original works to business japes. The third part analyses dramatization from the perspective of audience, through reveali

10、ng views from pros and cons, from which its theory-based representations are summed up. On one hand, dramatization endows the regenerative value of original versions or classics, on the other hand, it shows the start of

11、 entertainment and a lack of humanitarianism. Also, there are plenty of theoretical articles put forwards constructing a set of new ethic principles after analyzing its advantages and disadvantages so as to let the impro

12、ved pattern of vangardism develop benignly. Dramatization is taken as an adaptation theory because dramatizing is not equal to originating a film without reasonable materials but deriving an adaptation version from the o

13、riginal versions which are essential references of dramatizing. Dramatizing can never be available without references of original versions and this is why dramatizing is regarded as an adaptation version of vangardism or