论文学改编电影的改写模式（英文）

The Rewriting Model of Film Adaptation of Literature＊

本文拟在琳达·哈琴的改编理论和赵毅衡的广义叙述学基础上提出一种理解文学改编电影的新方式——改写模式。为了超越传统的改编模式,及其对电影的隐含偏见,改写模式首先承认改编的双重身份,即它同时是具体的文化作品,又是形成这个作品的过程。其次,改写模式意识到,从文学文本到其电影改编的过程中变化是不可避免的。以叙述三层次论的视角来看,改写的步骤可分为两个阶段。第一阶段发生在从底本1向底本2的转换中,也就是从被改编的文学文本向最终影像化之前的中间文本的过渡过程。在这一阶段的改写中,有四个变量（改编者、改编原因、地点和时间）会影响从底本1中对材料、形式和内容的选择。第二阶段发生在从底本2向述本的转换中,在这一步骤,有两个变量（媒介特性和受众）会影响所选材料的组合及其在电影中的再现。

This paper applies Linda Hutcheon＇s theory of adaptation and Zhao Yiheng＇s theory of general narratology to propose a new way for understanding the film adaptation of literature--the rewriting model. As an attempt to transcend the adaptation model with its prejudiced connotations towards film, the rewriting model involves acknowledging the dual identities of adaptation both as a product and a process. It also involves realising that change is inevitable when moving from the adapted text to the film adaptation. In terms of the ternary model of narrative, the procedures of rewriting can be divided into two phases. The first phase happens in the adjustment from the pre-narrated text 1 to 2, which involves a modification from the adapted literature to an intermediate text, prior to cinematisation. In this phase of rewriting, there are four variables （who, why, where and when） that affect the selection of materials, forms, and contents in the pre-narrated text 1. The second phase happens in the movement from the pre-narrated text 2 to the narrated text. In this phase, two variables （what and how） exert the influence on the combination of materials and their representation in cinema.