:From Novel To Movie

Foreword " Red Chinese Sorghum " of Mo Yan's, as look for one's roots important masterpiece of literature one of from issue at the beginning of to attract attention extensively critical circles, when we study Mo Yan, we definitely cannot ignore important status of " Red Chinese Sorghum ". And " Chinese sorghum wine " film " Red Chinese Sorghum " that adapt make enormous success according to " Red Chinese Sorghum " of Mo Yan, obtain multiple domestic Grand Prix not merely, obtain as world, one of three major film festival one year Berlin film festival best film Golden Bear at one blow even more. Just because of this, the film critical circles pay close attention to " Red Chinese Sorghum " deeply, from 1987 to the present, there are too numerous to mention theses, " Chinese film history " of each edition has offered " Red Chinese Sorghum " description which is analogous to space and higher appraisal. Although critical circles both quite pay close attention to these two works, achievements made are extremely many, but this kind of concern, these achievements are all only limited to one's own fields, the novel comments on and belongs to the comment of the novel, film and is studied and studied by the film, it seems that both sides do not pay close attention to the other side's field very much. Study the thesis of transition of the two, can be regarded, as the extremely rare one at present, and this is exactly the problem attempted to solve of this text. These text focal points of research delete film " Red Chinese Sorghum " and which plot does it increase and cause the reason of state. Zhang Yimou not only in the mainland, but also well received by fanaticism in Chinese area of China, such as Hong Kong, Taiwan, etc., obtained the enormous honor too in the west at the same time. So, as a cultural case of making the enormous achievement in the world, while studying the changes from novel to film of " Red Chinese Sorghum ", the cultural theory of colonialism will be analyzed after this text will use mainly. And then colonialism is meaning after the colonialism of the classics and value end in an all-round way, the west uses one's own knowledge / the power words give play to the role of controlling to the third world, under this linguistic context, any can get the international and successful culture case from third world countries and must accept the inspection of this theory. 1.Mo Yan's way of looking for one's roots: Vagrant / the bandit and vitality Though look for one's roots important masterpiece of literature, " Red Chinese Sorghum " look for one's roots with other literary works have heavy difference very undoubtedly. Mo Yan makes great efforts to look for the vitality in traditional China. China social culture structure have one Confucianism enlighten this composition of state of ceremonies under by education not merely, have one include vagrant also, uncultivated in social structure inside. Traditional China is that a change does not occupy, exchanges the complicated and various society from head to foot too. These were too narrated the historical and orthodox values and neglected by the mainstream all through the ages. And this stratum is obvious to be more vigorous compared with culture structure of mainstream society, can meet the writer's imagination space too. Protagonist Yu Zhan'ao of " Red Chinese Sorghum " is exactly a bandit, and this is not merely the protagonist's identity, and then influenced the expansionof the whole story even more. Mo Yan has not portrayed the various acts of personages of a piece of towns and villages all over the country. In the world of " Red Chinese Sorghum ", the brutality of this group of bandits is weakened, but rationality is emphasized to some extent. Mo Yan's purpose does not represent a true historical picture scroll or excavate another side of history, one kind of apparent unruly vitality that and it is clear to lie in borrowing this. It revolts to traditional moral standard and two Yuan for one who sets the aesthetics view against. Don't speak and abuse all strength, shift and all express this grand and heroic rebel's theme passionately, make vagrant / enormous human nature and cultural issues question contain, mother of bandit, can rich in contemporary consciousness digging of depth and find really. Although Mo Yan holds a kind of commendation attitude towards Yu Zhan'ao, and make great efforts to absolve for his massacre behavior too to speak, but can not get rid of barbarous and cruel and ferocious criticism after all in any case, so after " murdering a man and rob his wares ", must have kernels of " dedicating to the service of country precisely and loyally " too. Zhan'ao Yu finishes one's own personality while moulding; occupy the historical status of " national hero " too. Vagrant / the vitality contained in bandit's culture has got extreme publicizing under the nationalism words background, meanwhile got readers' approval too. The most important theme is the return, which calls the vitality in Mo Yan's " Red Chinese Sorghum ". We think, " Red Chinese Sorghum " " strange to take " aesthetic result that demonstrate is it investigate and excavate vagrant / bandit vitality contained in the culture again to lie in. 2.Zhang Yimou's narration tactics Zhang Yimou has done several sites of great change to the original work novel. 1.1 Change the scene of narrating: Place high-density the Northeasttownship in Shandong Peninsula that novel take place, film transplant story spot from Shandong to the Northwest, " black earth " in the novel has become " Huang Tu " whom we saw in a film too. Zhang Yimou the conversion display concrete function of the film to cut down the dramatis personae's social relationships ——Peoples for restriction factor disappear, this no doubt it make shooting degree of difficulty of film unable to reduce, also make a lot of excellent details in the original work novel unable to represent. And this kind of scene has changed and also presented the hard wound of two sites of logic. 1.2 Castrate Yu Zhan'ao: in novel " Red Chinese Sorghum " Yu Zhan'ao to regard, as heroic figure is it moulds to come, this was made by a novel one of the main achievements too. But among film, this personage image castrates or spays, become first cowardly ordinary person from one hero, have no ability to protect one's own lover, lack courage too. Heroic spirit of it find at all on this personage we novel, at most only stature not big and tall the bad and. In this way, originally vagrant / bandit that culture contain, the vitality publicized is exhausted. 1.3 Simplify the Fenglian: The image of the Fenglian is extremely complicated and abundant, is the most excellent, most plump personage in the whole novel. But this personage in film simplifying greatly plumps individual character. Abundant original personage image of it become a dull symbol to simplify. 1.4 Abundant Luohan: In the novel, the Luohan is an honest and tolerant elder's image all the time is an industrious farm laborer, on the whole it is simple. But among film, the personage bear the weight of more meaning, become "my grandfather ", "my grandmother " with an important link that trigonometry longs for under Luohan. Novelpassionate, expression of vitality that vast sea wanton degenerate a vulgar trigonometry long for shameful in here. Is it say narration of Zhang Yimou logic confused, film must narrate logic demonstrate confusedly And not unify to come on the whole. 3.See " the Red Chinese Sorghum " again: And then the clumsy adaptation under the colonialism linguistic context Zhang Yimou almost revises and does not speak the strongest and most valuable part in the original work; make a part of classics turn into a popular story. If as the words of works that are rewritten, should say this adaptation is extremely clumsy, all quintessence of the original work is concealed. However, this film has obtained enormous success again, why can clumsy adaptation still obtain the immense success? We think this kind of success is the factor of two respects, on the other hand it is the inherent reason to develop of the Chinese film, it is the western market / the requisition for Chinese film of critical circles on the other hand. Come out case just by film from Chinese, Chinese film demonstrate to specific China situation and life unusual getting concrete behavior of state all the time. " Melting introversive " is regarded as the basic form of the Chinese film, and it is a result to imagine oneself and admits oneself of community. " introversive to take " idea in the 1980s bludgeoning into serious ". The dispute to the so-called " Xie Jin's mode " is denying to " melting introversive " and impact, expect implying the strong desire that the external world approves. Review ideological trend is it clear away for Chinese film to external world theory difficult to learn completely not merely this time, have offered the prerequisite and condition of " melting export-oriented " to Zhang Yimou, ChenKaige, etc. too. Zhang Yimou's basic tactics are the incessant concern to " spying on ". He forever persistent on concealed situation of marginalisation of displaying, one unknown by the people " wonder " world of sex, and one fuzzy and misted world. In " Red Chinese Sorghum ", Zhang Yimou is absorbed in the concealed story in the Chinese society. Here, Zhang Yimou has cancelled " the timeliness ", " China " in his film surmounts time, eternal, it is the mythology type and the fable one, it was not the narration of a phase of history of concrete " China " that he let his audience see, but one's own " China ". It is not strange at all that the ones that accepted and welcomed Zhang Yimou are western critics at first. To offer " he " to them, Zhang Yimou for consumption, pieces of strange one, quite wild the east, strange society and nationality in a dream. The reason to present the enormous problem in narrating logic lies in Zhang Yimou has no attention / the interest to tell a rational story on " Red Chinese Sorghum ", his purpose only lies in showing his fictitious, unfounded " false folk custom " of those, this makes narration strength of his film unable to far mention in the same breath as other the fifth generation of directors. Zhang Yimou has transferred the tactics of expressing the meaning of Hollywood " plot drama " wonderfully in this static, beautiful space, it is always the separation and reunion story of " plot drama " type that take place in the space that he " spies on ". " red husked kaoliang " use one a abominable one, plot drama commonly used " trigonometry long for " mode. Make his works get more extensive approval. China is a concrete, vivid, existence which no one can't avoid, the living posture of China have any get in touch with film solicited to regard " folk custom " as those at all. Imagination of films and China " rupture" of state are already unable to conceal instantly. So, the film of this kind has already moved...