摘要
余华的小说《活着》被张艺谋改编成电影后,在情节、视角、意象等诸多方面发生了变化。其中,小说中贯穿始终的"土地"这一重大意象变成了电影中的"皮影"尤其令人关注。论文试从《活着》在小说与电影中所强调的生存基础、历史情感以及各自艺术形式的表达来分析土地与皮影这两大生命意象,进而看出《活着》从小说走向电影在内容上的精神化、意义上的狂欢化和形式上的光影化这三大变化。
After its adaptation into a film by Zhang Yimao, Yu Hua＇s novel Being Alive has witnessed many a change in its plot, perspective and images, etc. with the change from ＂land＂ a key image running through the novel to ＂the shadow puppet＂ in the film being the noteworthy change. This paper aims to analyze two life ima ges land and the shadow puppet from the perspectives of the stressed living basis, historical emotions and the re- spective artistic its content, the of the novel and the movie so as to figure out three changes of Being Alive in the spiritualization of carnivalization of its senses and the presentation of its plot in the form of light and shadows.
出处
《海南师范大学学报（社会科学版）》
2015年第10期36-40,共5页
Journal of Hainan Normal University(Social Sciences)
关键词
《活着》
土地
皮影
转变
Being Alive
land
shadow puppets
change
