Blending And Intergrowth

This paper divides the adaptation process of novels and teleplays since the new period into three stages:the first stage is the adaptation of novels and teleplay in the time of elite culture, basically before the1990's, during which the teleplay adaptation follows the basic principle of "faithfulness" that centers on literature. The second stage is after the1990s when the mass culture flourishes, during which the marriage of teleplays and novels is in full swing, and the concept and practice of adaptation also becomes diversified. The third stage is the new century when the power of the teleplay market is increasingly evident. The writing of novels, on the one hand, tends to cater to the teleplay adaptation driven by profit; on the other hand, teleplays are usually adapted back to novels after the TV series are popular. According to the three teleplay types (the teleplay of main theme culture, elite culture and mass culture), the paper chooses the most representative novels and teleplays of each type to do corresponding case analysis and interpretation. In other words, it probes into the military novel series adaptation (main theme culture type), the new realistic novel adaptation (elite culture type) and female urban ethical novel teleplay adaptations (mass culture type). The paper includes four chapters.The first chapter makes a general overview of the novel and teleplay adaptation from the new period to the3decades in the new century and discusses the following four aspects:the co-existence and correspondence of novel and teleplay adaptation, features of novel and teleplay adaptation, the main adaptation types and their evolution, as well as the main factors that constraint the teleplay adaptation.Chapter two dwells on the novel and teleplay adaptation of the military type. It briefs the adaptation of military novels and teleplays for more than thirty years, and makes an in-depth study of the teleplay adaptation of the three novels:Mountain Wreath, Father Process and Drawing Sword. The novels were written respectively in the1980s,1990s and the new century. They were different in the repercussions after they were published, but were all well received after adapted into TV series. Here the author makes a detailed analysis and summary of the similarities and differences between novel and teleplay.The third chapter is devoted to the teleplay adaptation of new realistic novels. The author believes that most of the television series adapted from classic literature should be classified as elite culture type (Of course, it has fairly close interaction overlap with the main theme and mass culture type). The new realistic novel began in the mid and late1980s, flourished in the1990s, and it has playcd a role in connecting the literature transition from the1980s to the1990s. New realistic novel writers such as Chi Li, Liu Heng, and Liu Zhenyun etc. have all long participated in the creation of teleplays as elites, and become the most influential writers in the teleplay adaptation field. Therefore the new realistic novels have a special cultural significance in the Teleplay adaptation field as well. Four novels were selected in this chapter to discuss such kind of adaptation:Ground Covered with Chicken Feathers and Unit by Liu Zhenyun, Garrulous Zhang Damin's Happy Life by Liu Heng, and Life Show by Chi Li.The fourth chapter focuses on the female urban ethics novel and teleplay adaption. Female writers become an inevitable topic in studying teleplay adaptation in the mass culture context. Female writers favor such themes as family ethics, love and marriage which have a natural link with the mass culture. Therefore, more researchers prefer to classify the teleplays adapted from female urban ethics novels as the mass culture type. Based on the systematic study of the teleplay adaptation of novels of female writers, the fourth chapter categorizes the urban ethics novel Holding Your Hand, Chinese Style Divorce, Zhuo Nv and Empty Mirror as the mass culture type and makes relevant research.