發(fā)布時間：2018-05-31 00:49

  本文選題：紅色經(jīng)典 + 影視改編與重塑��； 參考：《山東大學(xué)》2017年碩士論文

【摘要】："紅色經(jīng)典"是產(chǎn)生于二十世紀中國的一種特殊文化現(xiàn)象,其主要內(nèi)容是展現(xiàn)中國共產(chǎn)黨領(lǐng)導(dǎo)下的民族獨立解放的歷史進程,反映中國新民主主義革命的歷史過程和社會主義建設(shè)的歷史面貌。"紅色經(jīng)典"主要囊括了產(chǎn)生于二十世紀50、60年代的敘事性革命歷史題材文藝作品,以反映黨領(lǐng)導(dǎo)下艱苦卓絕又斗志昂揚的革命斗爭為核心,創(chuàng)作模式深受"延安經(jīng)驗"影響,具有革命的內(nèi)容、大眾化的形式和無產(chǎn)階的立場,帶有鮮明的民族風格和民族氣派。"紅色經(jīng)典"影視改編是一種依托"紅色經(jīng)典"原作,借助電影電視傳播媒介,在保持原著主干框架、精神內(nèi)涵不變的前提下,豐富人物形象,填充情節(jié)內(nèi)容,融入現(xiàn)代審美價值與歷史反思,滿足新觀眾群體審美需求的藝術(shù)再創(chuàng)作。部分創(chuàng)作者將這一文化資源加以繼承借用和改寫拓展來進行全新創(chuàng)作,既吸取了眾多"紅色經(jīng)典"及其影視改編作品的故事情節(jié)和創(chuàng)作模式,借鑒原有人物形象進行重新塑造,又站在現(xiàn)有的歷史高度和平臺上重新審視和再現(xiàn)歷史,依托當代人的認知水平和思維習慣,嘗試重建新革命經(jīng)典。本文嘗試對"紅色經(jīng)典"的影視改編與重塑進行研究,考察這一極具中國特色的文化現(xiàn)象背后蘊藏的審美傾向、文化選擇、革命認知和歷史觀念等問題,思考"紅色經(jīng)典"的延續(xù)與經(jīng)典重塑等問題。本文分為三章,具體如下:第一章,紅色何以經(jīng)典——"紅色經(jīng)典"再闡釋。本章通過分析梳理"紅色經(jīng)典"的概念發(fā)展過程和內(nèi)涵實質(zhì),抓取其影視改編與重塑的整體特點,為后文研究的推進奠定基礎(chǔ)和前提。第一,梳理"紅色經(jīng)典"概念從產(chǎn)生到確認的歷史過程,并對不同歷史時期的社會紅色文化氛圍進行分析。第二,挖掘"紅色經(jīng)典"的概念內(nèi)涵,從廣義和狹義的角度進行歸納,從"紅色"和"經(jīng)典"兩個層面來理解。第三,分別論述"紅色經(jīng)典"影視改編與"紅色經(jīng)典"當代重塑的突出特點。第二章,結(jié)合《林海雪原》《紅巖》《亮劍》,以個案研究的方式考察"紅色經(jīng)典"的影視改編與重塑。第一節(jié),考察《林海雪原》的影視化,概括其"建構(gòu)——解構(gòu)——再建構(gòu)"的影視改編歷程。電影《林海雪原》將英雄傳奇與革命主題融合,強化意識形態(tài),嚴把政治標準和意識形態(tài),追求革命敘事的純潔性;電視劇《林海雪原》強化集中了敘事沖突,保證了情節(jié)發(fā)展的自然流暢,對人物進行凡人化與人性化處理,淡化政治主題并加重當代氣息,體現(xiàn)出多元的時代審美取向與娛樂化的審美趨勢;電影《智取威虎山》與原著相比增添了江湖意蘊、傳奇色彩與懷舊氣息,在文學(xué)和電影、歷史與現(xiàn)實的多層互動中建構(gòu)全新的革命歷史想象。第二節(jié),以《紅巖》的影視塑造為例,從文化生產(chǎn)的角度考察"紅色經(jīng)典"影視改編的創(chuàng)作、接受等一系列生產(chǎn)消費環(huán)節(jié)。首先,分析《紅巖》的生產(chǎn)機制和創(chuàng)作過程,考察在從個人追思到公共記憶的升華和轉(zhuǎn)型的過程中,在從歷史事實到文學(xué)虛構(gòu)的變化中,政治話語如何滲透文藝創(chuàng)作并改寫私人回憶,并挖掘背后的創(chuàng)作心態(tài)與改編心理。其次,借助對江姐人物形象歷史內(nèi)涵變遷的分析,歸納女性革命者在"紅色經(jīng)典"影視化中的重塑過程,以此來審視"紅色經(jīng)典"從創(chuàng)作到影視改編的演變規(guī)律。第三節(jié),以《亮劍》為例研究當代"紅色經(jīng)典"的再建嘗試。通過《亮劍》入手反觀"紅色經(jīng)典"及其影視改編的影響力,深入研究革命經(jīng)典的當代重建與再造。首先,概括當前"紅色經(jīng)典"重塑再創(chuàng)的整體發(fā)展狀況,既能吸收原著精華,又能審視歷史對接當下。其次,分析《亮劍》的影視改編狀況,從突出戰(zhàn)爭實感,強化革命敘事,政治與市場的影響等方面展開。再次,挖掘"亮劍精神"的內(nèi)涵與意義,在建構(gòu)新歷史觀與悲劇化處理中參與了當代對"紅色經(jīng)典"的重塑再造。第三章,對"紅色經(jīng)典"的影視改編與重塑進行反思提煉。第一節(jié),分析"紅色經(jīng)典"影視改編與重塑興起的原因。主要包括"紅色經(jīng)典"的自身價值與闡釋優(yōu)勢,"后革命"時代對革命熱情和崇高精神的訴求,懷舊情緒的蔓延,大眾文化的崛起,意識形態(tài)與市場機制的雙重作用。第二節(jié),反思審視"紅色經(jīng)典"在影視改編與重塑過程中涌現(xiàn)的問題。主要包括無"情"不成戲,"注水稀釋"與革命情結(jié)的失落,后現(xiàn)代"戲說"與庸俗化傾向,泛人性化誤讀與人物"變臉"。第三節(jié),結(jié)合當下文化發(fā)展狀況,考察"紅色經(jīng)典"影視改編與重塑的現(xiàn)實意義和文化價值,思考當代革命經(jīng)典重塑問題。主要包括參與完成了當下革命影像述說和歷史再現(xiàn),復(fù)活并加深了社會大眾的歷史記憶,影響當代文化建設(shè)的方向,為當代文藝創(chuàng)作提供了豐富資源等。
[Abstract]:The "Red Classics" is a special cultural phenomenon produced in China in twentieth Century. Its main content is to show the historical process of national independence and liberation under the leadership of the Communist Party of China, reflect the historical process of the new democratic revolution in China and the historical appearance of the socialist construction. The "red classics" mainly included the 50,60 in twentieth Century. The literary and artistic works of the narrative revolutionary history subject in the years are centered on the revolutionary struggle of the arduous and fighting spirit under the leadership of the party. The creative mode is deeply influenced by the "experience of Yanan", with the revolutionary content, the popular form and the stand-free position, with the distinctive folk style and national style. The adaptation of the "red classic" film and television is a Relying on the original works of "Red Classics", with the help of the media of film and television, in order to keep the original frame of the original work and keep the spiritual connotation unchanged, it enriches the image of the characters, fills the plot content, integrates modern aesthetic value and historical reflection, and satisfies the aesthetic needs of the new audience group. Some creators inherit this cultural resource. Borrowing and rewriting to make a new creation, not only absorb many "Red Classics" and the story of the film and television adaptation of the story and creative mode, draw lessons from the original figure to remould, and reconsider and reappear the history on the existing historical height and platform, relying on the cognitive level and thinking habits of the contemporary people, trying to make a great effort. This article tries to study the film adaptation and remolding of the "Red Classics", to investigate the aesthetic tendencies, cultural choices, revolutionary cognition and historical concepts behind the cultural phenomenon with Chinese characteristics, and to think about the continuation and remolding of the "Red Classics". This article is divided into three chapters: the following: This chapter analyzes the development process and essence of the concept of "Red Classics" by analyzing the development process and essence of the "Red Classics", grasping the overall characteristics of the adaptation and remolding of the film and television, laying the foundation and precondition for the promotion of the later study. The social red cultural atmosphere of the historical period is analyzed. Second, excavating the concept of "Red Classics", from the broad and narrow sense, from the "red" and "classic" two levels to understand. Third, respectively discuss the "Red Classics" film adaptation and the "Red Classics" contemporary reshaping of outstanding characteristics. Second chapter, combined with < Lin Haixue The original > < red rock > < Liang sword >, study the film adaptation and remolding of the "Red Classics" in a case study. The first section examines the film and television adaptation of the "Lin Hai snow land", and summarizes the film and television adaptation process of "construction - Deconstruction - Reconstruction". Knowing the form and pursuing the purity of the revolutionary narrative; the TV drama < the snow land of the forest > concentrated the narrative conflict, guaranteed the natural fluency of the plot development, the personalization and humanization of the characters, the desalination of the political theme and the aggravation of the contemporary atmosphere, and the pluralistic aesthetic trend of the times and the entertainment. Compared with the original book, it adds the meaning of the river and lake, the legendary color and the nostalgic breath, constructs the new revolutionary historical imagination in the multi-layer interaction of literature and film, history and reality. The second section, taking the film and television of "red rock >" as an example, inspects the creation of "Red Classics" from the angle of cultural production, and accepts a series of production and consumption links. First, analyze the production mechanism and creation process of "Red Rock", and examine how political discourse permeate literary and artistic creation and rewrite private memories from historical facts to literary fiction in the process of sublimation and transformation from personal recollection to public memory, and excavate the creative mentality and adaptation psychology behind it. Secondly, with the help of Jiang Jieren The analysis of the historical connotation changes of the image of the object, summarizes the remolding process of the female revolutionaries in the "Red Classics" film and television, in order to examine the evolution law of the "Red Classics" from the creation to the adaptation of the film and television. The third section, taking the "bright sword >" as an example, studies the reconstruction of the contemporary "Red Classics". The "Red Classics" and the adaptation of the "Red Classics" by "bright sword >" are reviewed. In the first place, it can not only absorb the essence of the original work, but also examine the historical docking. Secondly, it analyzes the film adaptation of the "bright sword >", from the emphasis on the reality of the war, the strengthening of the revolutionary narrative, and the influence of the politics and the market. Again, the connotation and significance of "the spirit of the bright sword" is excavated, and in the construction of the new historical view and the tragic treatment of the "Red Classics" reengineering and reconstruction. The third chapter, the "Red Classics" film adaptation and remolding of reflection refining. The self value and the explanation advantage of the color classic, the Post Revolution "the demand of the revolutionary enthusiasm and the noble spirit, the spread of the nostalgia, the rise of the mass culture, the dual role of the ideology and the market mechanism." the second section, the reflection and examination of the problems arising from the "Red Classics" in the process of film and television modification and reshaping. "Water flooding dilution" and the loss of revolutionary complex, post-modern "drama" and vulgarization tendency, the universal misreading and character "change face". The third section, combining the current cultural development situation, inspects the realistic meaning and cultural value of the adaptation and remolding of the "red classic" film and television, and thinks about the remolding of the contemporary revolutionary classics. The recounting of life images and historical reappearance has revived and deepened the historical memory of the social masses, influenced the direction of contemporary cultural construction, and provided rich resources for contemporary literary and artistic creation.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I207.42;J905

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