后现代的中国莎剧电影批评:以《夜宴》和《喜马拉雅王子》为例

Post-modern Chinese Shakespeare Film Criticism:Taking Banquet and Prince of the Himalayas as Examples

进入21世纪,中国的莎剧电影批评在后现代理论的冲击下,呈现出全新的特征。电影改编不再“忠于原著”,而是试图与莎士比亚文学研究和莎士比亚戏剧研究分庭抗礼;2006年的两部莎剧电影《夜宴》和《喜马拉雅王子》被理解为“文化商品”,电影研究拓展至“电影工业”范畴。

In the 21st century,China's Shakespearean film criticism has taken on new features under the impact of post-modern theories.Shakespeare film adaptation is no longer"loyal to the original",but competes with Shakespeare's literary research and Shakespeare's theatrical research;Shakespearean films such as Banquet(2006)and Prince of the Himalayas(2006)are understood as"cultural commodities",and film studies extends to film industry studies.