格林兄弟版的《小红帽》和美国动画版的《小红帽后现代版》可追溯到法国作家佩罗所写的《小红帽》,三个版本在故事情节内容、表达方式以及人物形象设定上有着诸多改编与创新。探究原因,在于三者不同时代背景下的阅读对象与创作目的有所...格林兄弟版的《小红帽》和美国动画版的《小红帽后现代版》可追溯到法国作家佩罗所写的《小红帽》,三个版本在故事情节内容、表达方式以及人物形象设定上有着诸多改编与创新。探究原因,在于三者不同时代背景下的阅读对象与创作目的有所不同,而从文字到影像的嬗变也使故事在叙事结构、读者反应、文本留白等方面有了深度变化,媒介转换体现出更多的可能性、多变性与创造性。The Grimm’s version and the American animation version of Little Red Riding Hood can be traced back to the French writer Perrault’s Little Red Riding Hood. The three versions have undergone many adaptations and innovations throughout the plot content, expression and character image setting. The reasons to explore are that the differences in the historical backgrounds of the three cause the differences in the reading objects and the creation purposes, and the evolution from text to video makes the story have profound changes in the narrative structure, reader reaction, textual gaps and other aspects. This media transformation reflects more possibilities, variability and creativity.展开更多
文摘格林兄弟版的《小红帽》和美国动画版的《小红帽后现代版》可追溯到法国作家佩罗所写的《小红帽》,三个版本在故事情节内容、表达方式以及人物形象设定上有着诸多改编与创新。探究原因,在于三者不同时代背景下的阅读对象与创作目的有所不同,而从文字到影像的嬗变也使故事在叙事结构、读者反应、文本留白等方面有了深度变化,媒介转换体现出更多的可能性、多变性与创造性。The Grimm’s version and the American animation version of Little Red Riding Hood can be traced back to the French writer Perrault’s Little Red Riding Hood. The three versions have undergone many adaptations and innovations throughout the plot content, expression and character image setting. The reasons to explore are that the differences in the historical backgrounds of the three cause the differences in the reading objects and the creation purposes, and the evolution from text to video makes the story have profound changes in the narrative structure, reader reaction, textual gaps and other aspects. This media transformation reflects more possibilities, variability and creativity.
