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当“木兰传说”电影改写的定义限定于中华文化圈内,再摒除京剧、粤剧与豫剧等戏剧戏曲与电影的杂糅形式,1939版的《木兰从军》与2009版的《花木兰》从不同背景下的电影叙事、角色的成长历程到体现电影价值的悲喜剧结局等三方面的差异化设置比较得出,只有既继承民间文学的共性,又能在改写中发挥个性的艺术作品,才能保留民间文学的精髓,扩大改写作品的文化内涵。
When the definition of “Mulan Legend” rewritten in movies is limited to the Chinese cultural circle, then it excludes the hybrid forms of dramas and movies such as Beijing Opera, Cantonese Opera and Henan Opera. The 1939 version of “Mulan” and the 2009 version of “Mulan” Different narratives in different contexts, the growth of roles to the end of the tragedy and the comedy that reflects the value of the movie, etc., come to the conclusion that only by inheriting the commonalities of folk literature and displaying the individualized works of art in rewriting, can we retain The essence of folk literature, to expand the cultural connotation of reworked works.