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論電影的文學性與1980 年代中國電影轉型 = = On the Lit...
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Wang, Xiaobo.
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論電影的文學性與1980 年代中國電影轉型 = = On the Literary Nature of Films and the Transformation of Chinese Films in the 1980s.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
論電影的文學性與1980 年代中國電影轉型 =/
其他題名:
On the Literary Nature of Films and the Transformation of Chinese Films in the 1980s.
作者:
Wang, Xiaobo.
出版者:
Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:
285 p.
附註:
Source: Dissertations Abstracts International, Volume: 82-09, Section: A.
Contained By:
Dissertations Abstracts International82-09A.
標題:
Literature. -
電子資源:
https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28317580
ISBN:
9798582517047
論電影的文學性與1980 年代中國電影轉型 = = On the Literary Nature of Films and the Transformation of Chinese Films in the 1980s.
Wang, Xiaobo.
論電影的文學性與1980 年代中國電影轉型 =
On the Literary Nature of Films and the Transformation of Chinese Films in the 1980s. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 285 p.
Source: Dissertations Abstracts International, Volume: 82-09, Section: A.
Thesis (Ph.D.)--University of Macau, 2020.
This item must not be sold to any third party vendors.
文學性與電影性如影隨形,相互溝通和影響,它們彼此間的強弱消長相生相剋,決定了電影作為一種獨特藝術的發展和走向。第五代導演有意的探索和尋找形成了規模性的藝術成果,這種集體化的定型和確認最終導致中國電影於1980 年代發生轉型。第五代導演真正走向電影藝術,將電影發展為獨立藝術品而非文學的、繪畫的、音樂的累加或疊合,是屬於電影的藝術。與此同時,文學性與電影性的關係也正經歷著裂變式的陣痛。電影與文學一一對應的關係被打破與重組,電影改編不再是在銀幕上盡可能的呈現文學作品,而是讓電影藝術操縱文學,更加尊重電影藝術本身的規律。電影的立場和訴求從自在走向自為,導致文學性越來越弱,電影性越來越強。在現代主義與後現代主義相交錯夾雜的時代思潮中,1980 年代文學存在方式開始嬗變蛻化,據文學作品改編的電影也開始拋棄了對文學本質的追求,電影文學性的內涵也在發生深刻的變化。.
ISBN: 9798582517047Subjects--Topical Terms:
537498
Literature.
Subjects--Index Terms:
1980 年代
論電影的文學性與1980 年代中國電影轉型 = = On the Literary Nature of Films and the Transformation of Chinese Films in the 1980s.
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文學性與電影性如影隨形,相互溝通和影響,它們彼此間的強弱消長相生相剋,決定了電影作為一種獨特藝術的發展和走向。第五代導演有意的探索和尋找形成了規模性的藝術成果,這種集體化的定型和確認最終導致中國電影於1980 年代發生轉型。第五代導演真正走向電影藝術,將電影發展為獨立藝術品而非文學的、繪畫的、音樂的累加或疊合,是屬於電影的藝術。與此同時,文學性與電影性的關係也正經歷著裂變式的陣痛。電影與文學一一對應的關係被打破與重組,電影改編不再是在銀幕上盡可能的呈現文學作品,而是讓電影藝術操縱文學,更加尊重電影藝術本身的規律。電影的立場和訴求從自在走向自為,導致文學性越來越弱,電影性越來越強。在現代主義與後現代主義相交錯夾雜的時代思潮中,1980 年代文學存在方式開始嬗變蛻化,據文學作品改編的電影也開始拋棄了對文學本質的追求,電影文學性的內涵也在發生深刻的變化。.
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Literature and film go hand in hand, they communicate and influence each other. Their strength and weakness coexist with each other, which determines the development and trend of film as a unique art. The fifth generation directors' intentional exploration and search formed large-scale artistic achievements, which eventually led to the transformation of Chinese films in the 1980s. It belongs to the art of film that the fifth generation directors really move towards the art of film and develop the film into an independent art rather than the accumulation or superposition of literature, painting and music. At the same time, the relationship between literariness and cinematicism is also experiencing fission pains. The one-to-one correspondence between film and literature has been broken and reorganized. Film adaptation is no longer to present works on the screen as much as possible, but to let film art manipulate literature and respect the law of film art itself. The stand and appeal of the film has changed from being free to acting on its own, which leads to the weakening of literariness and the increasing strength of film. In the trend of thought of the times in which modernism and postmodernism are intertwined, the way of literary existence began to change and degenerate in the 1980s, and films adapted from literary works began to abandon the pursuit of literary essence, and the connotation of film literariness is also undergoing profound changes.
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https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28317580
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