从文学到电影:关于改编观念、理论、模式及方法等的思考

From Literature to Film:Reflections on Adaptation Concepts,Theories,Models,and Methods

21世纪以来,中国的电影改编可以说进入一个全新时代,它呈现出如下特征:电影改编的地位及重要性达到历史性新高,在某种意义上,只有20世纪20年代堪与之媲美;电影改编的种类及资源前所未有的丰富多元;电影改编的观念及方式发生了巨大变化,在电影界一度被奉为圭臬的“忠实论”改编观念被颠覆;中国电影改编正在由“改编创作”向“改编生产”转向;改编的形态正由“静态化”走向“动态化”……如此等等,都引发人们对于电影改编的几大核心问题——改编观念、改编理论、改编模式及方法、电影与文学之关系等——进行重新审视与思考,并借以对未来中国电影改编进行某种前瞻性预设与历史性延展。总体来说,电影改编观念“去原著化”明显;改编理论以重返“戏剧式”姿态走向类型融合;改编模式及方式愈益灵活自由;电影与文学之关系则重归叙事之本意。

Since the beginning of the new century,Chinese film adaptations can be said to have entered a new era.In particular,the status and importance of film adaptation has reached a historic high.In a sense,only the 1920s can rival them.The types and resources of film adaptations are unprecedentedly rich and diverse;the concepts and methods of film adaptations have undergone tremendous changes,and the concept of“faithfulness”adaptation that was once regarded as criterion in the film industry has been greatly subverted;Chinese film adaptation is shifting from“adaptation creation”to“adaptation production”;and the form of adaptation is changing from“static”to“dynamic”.The paper re-examines and reflects on several core issues of film adaptation.The core issues include the concept of adaptation,the theory of adaptation,the methods of adaptation,the relationship between film and literature,and so on.Some forward-looking presuppositions and historic extensions of Chinese films are also made in the paper.Generally speaking,the phenomenon of film adaptation is“de-original”;the theory of adaptation is returning to a“dramatic”attitude towards type integration;the mode and method of adaptation are becoming more flexible and freer;and the relationship between film and literature returns to the original meaning of narration.