浅论跨文化语境中的影视作品改编——以《神的孩子全跳舞》为例

 2022-01-19 11:01

论文总字数:16014字

目 录

1绪论······················································1

1.1概念界定································································1

1.2国内外研究现状及研究意义················································1

2《神的孩子全跳舞》原著体现的跨文化改编内涵··················1

2.1富于连带感的故事内容····················································1

2.2具有现代性的文体特征····················································2

3电影中的跨文化语境改编····································3

3.1人物重塑 ·······························································3

3.1.1主人公Kengo(善也)·················································4

3.1.2格伦·宋(田端)·····················································4

3.1.3女友珊卓··························································4

3.1.4次要人物··························································5

3.2主题重释································································5

3.2.1沟通对象的转换——从自我到他人····································5

3.2.2“地震”元素的重构——从隐喻到消解··································5

4《神的孩子全跳舞》跨文化语境改编的效果及策略探析···········6

4.1跨文化语境改编的效果及原因··············································6

4.1.1效果分析··························································6

4.1.2原因探析··························································6

4.1.2.1商业性弱及制作水平较低······································6

4.1.2.2文化群体差异带来的接受度差异································7

4.2跨文化语境影视改编的策略················································8

4.2.1规避文化折扣,打造异域文化的本土化·································8

4.2.2提取普世价值,实现二次创作·········································8

4.2.3商业性与艺术性相平衡··············································9

5小结······················································9

参考文献··················································10

致谢······················································11

浅论跨文化语境中影视作品的改编

——以《神的孩子全跳舞》为例

白梓桦

,China

Abstract: In the visual era, the film and television adaptation based on literary has become an upsurge of creation. Film has been widely disseminated as a carrier of cultural communication in the globalization process, and more and more directors began to try to adapt movies in the cross-cultural context. The 2007 American film All God’s Children Can Dance, adapted from Murakami Haruki’s short story of the same name, is a representative example. This paper takes the novel All God’s Children Can Dance and its film adaptation as the research objects, first analyzes the connotation of cross-cultural context adaptation embodied in the original novel, then the author analyzes the cross-cultural context adaptation of the film from the perspective of the reconstruction of the characters and the theme, and analyzes the effect of the adaptation and its reasons after the release of the film, finally, tries to sum up the strategies of the film and television adaptation in the cross-cultural context.

Key words: cross-cultural context;film and television adaptation;All God’s Children Can Dance;strategy

1绪论

1.1概念界定

文化语境是指与言语交际相关的社会文化背景。它包括两层意思:一方面是指文化习俗,即一个地区的社会历史所沉淀下的具有集体性的风俗和习惯。例如,不同国家具有不同节日传统、宗教信仰等;另一方面是指交际规范,即一个地区对言语交际活动设立的特定的规则与限制。语言不同的地区,其行为交际模式也往往大相径庭。[1]以上两方面都深刻影响着一个地区人们的生活方式和思维模式。

在全球化背景下,人类的交流越发出现“跨文化语境”的迹象,这种交流从政治、经济到文化,已然深入到人类生活的各个领域。其中,电影作为21世纪人类最瞩目的艺术形式,已经逐渐成为文化交流与传播的一种重要手段,因此,“跨文化语境”现象蔓延至影视领域也是一种必然趋势。

影视改编,顾名思义是指把文学作品,尤其是小说改编为电影或者电视剧。跨文化语境影视改编是指将基于异域文化语境创作的文学作品改编为符合本土文化语境的影视作品。这里涉及到两个层面的改编过程,一是从文学作品到影视作品,这是从文字到影像的转换;二是从外国文学到本国影视,这是将异域文化本土化的过程。

1.2国内外研究现状及研究意义

当前,在西方学界,由罗伯特·斯塔姆撰写和参与编著的三部著作《文学和电影》、《文学和电影指南》以及《电影中的文学》是现在研究电影与文学关系的较为重要的学术资料。这三部文集包罗万象,基本涵盖了当今学术界关于文学与电影的方方面面的问题。

我国关于电影与文学的研究主要是借鉴西方现有的研究成果,正式出版的学术论文、学位论文数量非常多,但特别重要的、有影响力的专著或学说较少。此外,专门针对跨文化语境文学影视改编的研究也不多,大多属于普及介绍性质。

  从学科意义而言,影视与文学关系的研究是比较文学的一个分支。比较文学研究的领域集中在不同民族文学之间相互作用的过程,以及文学与其他艺术门类和其他意识形态的相互关系。[2]对不同民族文化下诞生的影视与文学的关系研究丰富了比较文学的研究领域,在全球化背景下,这种分支研究显得十分必要。

  从文化意义而言,跨文化语境改编的影视作品,如何能够跨越文化壁垒,在全球范围内得以广泛传播,并获得不同文化语境地区的人们尽可能高的接受度,是影视创作者需要思考的问题。

2《神的孩子全跳舞》原著体现的跨文化改编内涵

2.1富于连带感的故事内容

短篇小说《神的孩子全跳舞》(以下简称为《神的孩子》)收录于村上春树2000年出版的同名短篇小说集。故事的主线是主人公善也在某天夜晚追寻生父的过程,其间插入多段回忆。善也的母亲心灵纯洁又充满魅力,上高中时由于“灵魂如同刚形成的泥潭一般混乱不堪”[3],导致感情生活也一团混乱,两次堕胎后,与为自己做堕胎手术的没有右耳垂的妇产科医生交往。尽管当时避孕措施无懈可击,她还是怀孕了。然而医生拒绝承认孩子的身份,母亲在绝望中被一个叫做田端的男子搭救,受其影响,从此以基督教作为信仰,生下善也,并告诉善也他是神的孩子。长到二十五岁的善也在一次乘坐地铁时看见一个没有右耳垂的男子,凭直觉认定那就是自己的生父,于是一路追踪。追到棒球场铁丝网外的小胡同时,男子消失在漆黑夜色中。善也走进棒球场跳起舞来,跳着跳着,蓦然想到脚下大地深处有着足以摧毁整座城市的地震之源。

《神的孩子》这个故事不仅仅是属于日本的。主人公善也并没有被刻画为一个会下意识鞠躬、点头、吃着和食、赏着樱花的传统日本人形象,他更像是一个普通的都市人代表。身处在东京这个飞速旋转的大都市中,无论是社会身份、家庭背景还是个人特质,善也都是一个再普通不过的年轻人。然而就像坚实的大地之下隐藏着毁灭性力量一样,主人公的平静生活其实波涛暗涌。萦绕在善也心头的困惑不仅是“我的父亲是谁?”,还有“我是谁?我在这庞大世界中如何定位?我心深处的邪恶人性如何排解?”因此,与其说故事讲述的是一次寻父之旅,不如说是主人公对于身份认同的一次解惑之旅,一场灵魂的救赎之旅。

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