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武汉作家方方的小说在中国当代文学史上的地位毋庸置疑。二十多年来,她的作品从未退出过大小荧屏。由于题材范围的跨度较大,方方小说的可塑性极强,并不拘泥于电影、电视剧的改编,甚至以戏剧的形式活跃在舞台上,带给观众一种全新的视觉欣赏和心理享受。方方作品在改编过程中,取得了一些成绩,例如满足了读者的审美期待,语言冲突丰满了人物性格,与武汉的城市历史文化产生共鸣等。然而,文学与影视戏剧毕竟是不同领域的艺术,方方作品的改编,也存在一些问题,例如代表作未被改编,长篇改编也不尽如人意。另外,有些作品的改编也存在迎合市场,淡化原文思想的现象。《万箭穿心》的成功,既是对原著的尊重和肯定,亦是与新媒体的一个融合范例,给我们提供了一个难得的参考对象,对于武汉传统文学的振兴乃至武汉这座城市的宣传都有着不可言喻的研究价值。
There is no doubt about the position of Wuhan writer Fang Fang in the history of contemporary Chinese literature. For more than two decades, her work has never quit the size of the screen. Due to the large span of the subject matter, Fangfang’s fictional plasticity is extremely strong. It does not rigidly adhere to the adaptation of films and TV dramas. It even plays an active part on the stage in the form of drama, giving the audience a new visual appreciation and psychological enjoyment. In the process of adaptation, Fangfang made some achievements, such as satisfying the reader’s aesthetic expectation, full of characters in the language conflict, resonating with the urban history and culture of Wuhan. However, literary and film and television drama is, after all, an adaptation of art and square works in different fields. There are also some problems. For example, the representative works have not been adapted and their lengthy adaptation has been unsatisfactory. In addition, the adaptation of some works also exists to cater to the market, dilute the original idea of the phenomenon. The success of Wanjiannianxin is not only the respect and affirmation of the original work, but also an example of integration with new media, which provides us with a rare reference object. The promotion of Wuhan traditional literature and even the promotion of this city in Wuhan All have unspeakable research value.