鬼神妖狐的现实影射与人生隐喻——《聊斋志异》在中国大陆的电影改编(1949-)

The Realistic projection and life metaphor of Ghost Fox——On the film adaptation of The Strange Tales of Liao Zhai in China's Mainland(1949-)

《聊斋志异》在中国大陆的电影改编(1949—)体现出不同的改编观念、改编方法和不同的审美趣味,进而体现出不同的艺术成就。就改编方式而言,可以分为三种:对原作情节框架的影像再现;对原作的情节扩充或者多个故事的杂糅;对原作的现代性改造。由于改编者未能充分意识到《聊斋志异》改编成电影的优势与短板,《聊斋志异》在中国大陆的电影改编(1949—)总体而言成功的作品不多,情节设置、人物塑造、主题表达上的缺陷比比皆是:情节冲突的设置没有现代感;核心冲突的解决要么过分依赖法术,要么依赖"明君""清官""侠客",未能体现人物的主动性和意志、品质的力量;男性主人公大都缺乏个人魅力,对其刻画比较平面化和表面化,也未能很好地展示人物变化、成长的"弧光"。因此,我们应该用电影编剧的要求,用现代性的价值观,用类型电影创作的规范来重新审视《聊斋志异》中的故事,并大力弘扬《聊斋志异》的民族特色,包括民俗、民情,民族性的伦理价值观,民族性的叙事方式等。

The film adaptation of The Strange Tales of Liao Zhai in China's Mainland(1949-)reflects different adaptation concept,methods,aesthetic interests and different artistic achievements.There are three types of adaptation:the image reconstruction of the original plot frame;the expansion of original plot or the combination of many stories;the modern transformation of original work.As the adapters failed to appreciate the advantages and disadvantages when The Strange Tales of Liao Zhai was adapted into a movie,so there are few successful adaptation works in China's Mainland(1949-).Therefore,we should re-examine the stories in The Strange Tales of Liao Zhai in accordance with screenwriter’s requirements,with modern values and with the norms of film creation.The national characteristics of The Strange Tales of Liao Zhai,including folk custom,public feeling,national values and national narrative,should be vigorously promoted.