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一本好书的读者希望在银幕上能再看到书中的人物,看到他们生气勃勃地出现在另一种艺术里,这是完全合乎情理的。读者认为——这也是他们有的权利——这样新的会见,必须使他更进一步来认识这些人物,能比过去对人物的瞭解更多一些。新的会见应当有所丰富,要不然还不如没有这个会见……然而,可惜常常有这样的事情,在影片里,比较起文学原著来,我们不仅没有发现什么新的东西,甚至看不到我们在书中所认为的可贵的东西。这也就是关于文学作品改编成电影的论文为什么时常用各种不同的令人痛心的标题的缘故,例如:「主题的贫乏」、「歪曲的形象」、「影片比小说差得多」、「错过的机会」等等。当然,这是可以理解的。这些影片的剧作者的任务是非常复杂而困难的,他们要用七八十页的篇幅来说明五六百页甚至更多页数的小说内容。是不是这个任务就是无法完成的呢?
Readers of a good book hope to see the characters in the book on the screen again, and it is completely reasonable to see them live energetically in another art. Readers think - and this is what they have - that new meeting must enable him to know these characters one step further and to know more about them than in the past. However, it is a pity there is always something like this. In the film, comparing with the original literature, we not only find nothing new, we can not even see us Valuable things in the book. That is why the essay on the adaptation of a literary work into a movie often uses a variety of distressing headings, such as “the subject is poor,” “distorted images,” “the film is much worse than the novel,” and “ Missed opportunity ”and so on. Of course, this is understandable. The task of the dramatists of these films is very complicated and difficult. They use 70-80 pages to illustrate the fictional content of five or six hundred pages or even more pages. Is this task can not be done?