从苏童的《妻妾成群》到张艺谋的《大红灯笼高高挂》

From Su Tong's Wives and Concubines to Zhang Yimou's Raise the Red Lantern

苏童的中篇小说《妻妾成群》和张艺谋的电影《大红灯笼高高挂》分别是中国当代文学史和电影史上的名篇佳作,也是中国电影改编史的重要范例,对它们进行深度解析不仅具有学术价值,也是影视改编实践的需要。本文从以下五个方面,分析其间的改编关系:一、人物的形象设置及其关系;二、故事结构、视点、情节推展及其节奏;三、自然、社会环境及整体象征氛围的营造;四、从主观的精神内蕴到客观的视觉形象之间的转换;五、主题与细节。张艺谋对原著的改编是巨大而主观的。作为两种各有优长、彼此不可替代的艺术样式,在改编过程中有不同的观点和原则,在学术界也存有较大的争议。张艺谋的改编原则:一是服从电影的内在属性及其需要,二是表现自己的电影风格和艺术个性。小说和电影真如水火之间,是具有不同属性的两种物质。

Su Tong＇ s novellas Wives and Concubines and Zhang Yimou＇ s movie Raise the Red Lantern are both famous works in contemporary Chinese history of literature and movie respectively. They are also important samples in the Chinese history of movie adaptation. Analysis on these two works not only has academic values, but is also necessary for movie adaption practice. This paper analyzes their adaption relation from the following five aspects： 1. the relation in characters＇ setting; 2. story structure, view point, unfolding of the plots and its rhythm; 3. natural and social environment and the creation of the general symbolic atmosphere; 4. the shift from subjective and spiritual connotation to objective visual images; 5. subject and details. Zhang Yimou＇ s adaption to the original work is dramatic and subjective. As two different forms of art each have its own irreplaceable advantages, they have different opinions and principles. There are also much controversy on the adaption in academic circle. The principles of Zhang Yimou＇ s adaption are ： first it must obey to the innate property and need of movie; second, it must express his own movie style and his artistic characteristic. Novel and movie are just like fire and water, they are different things with different properties.