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1966年张爱玲将其早年作品《十八春》改编成小说《半生缘》,在民国时期纷繁的战争背景下,关注游离于大都市中的普通民众的生活轨迹以及情感历程,1997年导演许鞍华又将其改编为电影。无论是张爱玲还是许鞍华,都为故事人物精心搭配了服饰,试图借助社会服饰规范,使角色获得各自社会范畴中行动的相对自由,借以表达自己的创作意愿,实现文本的艺术价值。本文以《半生缘》中人物服饰的影像变幻为切入点,意在阐述张爱玲亦或许鞍华对作品中人物服饰描写根植性、表征性、创新性的影像描写,以变幻多姿、寓意深刻的服饰,隐喻作品的悲剧意蕴并阐发人生思考。
In 1966, Eileen Chang adapted his early works “Eighteen Springs” into the novel Half-Life, and under the background of numerous wars during the Republic of China, he paid attention to the life trajectory and emotional history of the ordinary people in the metropolis. In 1997, Adapt it as a movie. Both Eileen Chang and Ann Hui are well-matched with the costumes of the story people trying to use the social dress norms, so that the role of the role of the community to obtain the relative freedom of action in order to express their own creative desire to achieve the artistic value of the text. In this paper, the image changes of the costumes in Half-Life are taken as the breakthrough point. The purpose of this article is to explain the rooted, representative and creative image description of the costumes by Zhang Ailing or Xu Anhua. Costumes, metaphorical tragedy implication and elucidate life thinking.