试论文学改编电影的语言延异与其时代生命力——以2005年凯拉·奈特利主演的《傲慢与偏见》为例

A Study on the Vitality of Literature-adapted Films in the Times and Its Language Différance:A Case Study of Pride and Prejudice of 2005 Starring Keira Knightley and Matthew Macfadyen

文学改编为电影后在时间的长河中不断迸发出洪涌般的生命力,历久而弥新。其中缘由正在于电影艺术家们并未死守原作者的写作意图和原作原意,而坚持运用电影艺术媒介与原作文字进行着隔跨时空的交流——其中有应有违——并在自我的视阈中对原作进行差异化阐释,让观者透过时代的滤镜欣赏并接受改编版本。2004年,制片方聘用新锐导演乔·怀特执导《傲慢与偏见》,而乔·怀特也不负所望,运用自己的艺术语言对经典作品进行了再次诠释,在电影画面、声音和演技等方面均体现出求变精神。

Literature-adapted films journeying in the times keep bursting forth vitality and contrive to be lasting and fresh owing to that,instead of rigidly adhering to the intention of the author and the original meaning of literature and clumsily transplanting the intention and the original meaning into their own works,the film artists span the times and space and communicate with literature language through their media while approaching literature from their own horizon and making a hermeneutic interpretation of it so that the audience could appreciate and accept the adaptations advancing with the times.In2004,the producer employed Joe Wright,who had been newly emerging as a promising movie director,to direct Pride and Prejudice of2005,and the latter didn’t fail but thrill the former by retelling the story in pursuit of hermeneutically different visual and audio effect and acting,etc.Therefore,the old branch bears buds and sends forth a delicate fragrance once more.