當(dāng)代流行文學(xué)作品與改編電影之接受關(guān)系研究

1、上海師范大學(xué)碩士學(xué)位論文 摘要 摘要 摘要 在市場經(jīng)濟(jì)迅猛發(fā)展、大眾文化興起、電影藝術(shù)日臻成熟的當(dāng)代，流行文學(xué)作品不僅吸引了大批讀者的追隨，還斬獲了電影的“芳心”，成為了電影改編競相奪取的“新寵兒”。無論如何，當(dāng)代流行文學(xué)作品改編電影已經(jīng)成為不容忽視的熱門現(xiàn)象。 從當(dāng)代流行文學(xué)作品到改編電影是一個(gè)動(dòng)態(tài)的轉(zhuǎn)換過程， 也是一個(gè)接受過程，既包含

2、了讀者對(duì)流行文學(xué)的接受，電影制作者對(duì)原著的接受、也包含了觀眾對(duì)改編電影的接受、改編活動(dòng)刺激下原著作品的再接受等等。因此，本文試圖立足于接受者的角度， 研究當(dāng)代流行文學(xué)作品改編電影的接受活動(dòng)。 共分為緒論、正文（第一章、第二章、第三章），結(jié)語、參考文獻(xiàn)幾部分。 緒論部分首先介紹了當(dāng)代流行文學(xué)改編電影的背景、 該課題的選題緣由； 從接受美學(xué)及讀者反應(yīng)批評(píng)理論研究現(xiàn)狀、流行文學(xué)作品研究現(xiàn)狀、文學(xué)改編電影研究現(xiàn)狀、接受美學(xué)視角下的電影（或電影市

3、場）、文學(xué)作品研究現(xiàn)狀等幾方面對(duì)已有研究進(jìn)行綜述；最后對(duì)本文的創(chuàng)新點(diǎn)和主要研究問題進(jìn)行了簡單說明。 正文部分第一章：作為改編對(duì)象的流行文學(xué)。第一節(jié)通過與“通俗文學(xué)”、“網(wǎng)絡(luò)文學(xué)”、“熱門 IP”等的比較分析對(duì)我們所談?wù)摰碾娪案木幍膶檭骸爱?dāng)代流行文學(xué)作品” 嘗試界定。 本文所談?wù)摰漠?dāng)代流行文學(xué)是擁有廣泛而深厚的受眾基礎(chǔ)，具有通俗性、傳奇性和娛樂性、流行性的以流行小說為主要體裁的文學(xué)形式；在傳播形式上，以網(wǎng)絡(luò)作為重要載體；在法律和文化產(chǎn)

4、業(yè)意義上屬于文學(xué)文本類可進(jìn)行二次轉(zhuǎn)化創(chuàng)造的熱門知識(shí)產(chǎn)權(quán)（即文學(xué) IP）。第二節(jié)分析了電影改編青睞流行文學(xué)作品的原因：1、機(jī)制轉(zhuǎn)換生成的強(qiáng)操作性（當(dāng)代流行小說不僅為電影提供了更多劇本素材， 其選取的題材與傳達(dá)的情感也更能迎合讀者與電影觀眾的心理期待； 當(dāng)代流行小說強(qiáng)烈的鏡頭畫面感與戲劇化的故事情節(jié)） ；2、商業(yè)價(jià)值驅(qū)動(dòng)市場選擇：能夠快速過濾甄別目標(biāo)讀者群的流行文學(xué)具有迅速聚攏核心用戶、廣泛輻射周邊群體的優(yōu)點(diǎn)。 第二章： 電影改編當(dāng)代文學(xué)作

5、品——接受者的多聲部大合唱。 第一節(jié)從流行小說讀者到改編電影觀眾——接受者的“?！迸c“變”，論述了作為流行文學(xué)急先鋒的當(dāng)代流行小說讀者到改編電影觀眾接受者身份、接受方式等的常態(tài)與變換。“讀者與“觀眾”的共同身份是大眾敘事藝術(shù)的“接受者”；對(duì)于小說和電影的創(chuàng)作者來說， 盡管在接受活動(dòng)中有不同程度的妥協(xié)， 對(duì)受眾的共同期待是獲得“知音”的認(rèn)同。另一方面在從流行文學(xué)作品讀者到改編電影觀眾，接受者的期待視野發(fā)生了轉(zhuǎn)變和重構(gòu)， 其審美對(duì)象主體、

6、接受方法和接受評(píng)價(jià)發(fā)生了變化。Shanghai Normal University Master of Arts Abstract Abstract In contemporary society, w

7、ith the rapid development of market economy, the rise of the mass culture, and the ever more maturation of film art, popular literary works not only attract large number of readers, but also capture “the heart“ of movies

8、. It becomes “the favorite” of film adaptation. In any case, the adaptation of the contemporary popular literature in films has become a hot phenomenon which cannot be ignored. The contemporary popular literary works’ ad

9、aptation to film is a dynamic conversion process. At the same time, it’s also a process of acceptance. It contains reader's acceptance of the popular literature, film maker's acceptance of the original works, aud

10、ience’s acceptance of the adapted films, as well as the re-acceptance of the original work being adapted and so on. Therefore, this paper tries to study the acceptance activity of the contemporary popular literature work

11、s from the perspective of their receivers. This thesis is divided into three main parts as the preface, the main text (the first chapter, the second chapter, the third chapter), and conclusion. The preface firstly introd

12、uces the background of contemporary popular literary works’ adaptation to film and the significance of this topic selection. It provides a general review on the reception aesthetics, ; besides, it also gives a summary on

13、 the research status of popular literary works and those works adapted in films. Then, it offers a brief introduction of the innovations and the major research questions of this thesis. The first chapter of the main text

14、 shows that the popular literature is the very adaptation object. The first section focuses on film adaptation of the contemporary popular literature. Through the comparison and analysis of “popular literature“, “Interne

15、t literature“, “popular IP“ and so on, it tries to define “contemporary popular literature works”.The contemporary popular literature works in this thesis are those works with extensive and firm audience base, with popul

16、ar, legendary, entertaining and best selling qualities. They are literary forms of popular novels as major genres. In its mode of propagation, the Internet is the key medium. And from the legal and cultural senses, it be

17、longs to literary text class, which is labeled as re-transformable and re-creative popular intellectual property (IP). The second section analyzes the reasons of why it could become the favorite of film adaptation. First