Translate The Novel Into A Movie

This dissertation, as a study of cross-cultural relations, probes into the four movies which directed by Jiang Wen from the perspectives of Psychoanalysis of Sigmund Freud and Subject position of Jacaueo Lacan. Firstly, it reexamines and analyses the four movies in the framework of novel to movie, by regarding them as the creative practices of Jiang Wen. Secondly, through taking close reading of the texts and theoretical analysis, the dissertation reviews the adaption strategies of Jiang Wen. In the meantime, it represents and reflects on the External motivation and internal logic in this process. This work mainly consists in four chapters.The first chapter analyses the relationship between Jiang Wen and the authors of adapted novels, shows the interdependent and antagonistic contradictions relationship in the real life. Director and writers belong to the artists, but movie, as the product of the joint action of financial and human resources, and novel, as individual writers writing product, both represent two different capital and individual interests. In the issue of adaption, Compromising or taking the initiative to accept of the original writer shows that Capital occupied the absolute dominance in front of the individual in the current artistic creation environment.The second chapter will discuss the possible effect of individual external motivation In the process of novel to movie. It will specifically discuss Jiang Wen’s personal external factors in the process of adaptation of the novel infiltration on the aspects of historical background, language, characters and plots. As a film director, Jiang Wen put strong personal will into the artistic creations.The third chapter discusses how the internal logic of the individual affected screenplay adaptation and film the final presentation in the adaptation process of Jiang Wen’s four films. According to the four elements of "crazy","gun","love","dream", which proposed by Jiang Wen, specific and detailed discussion of these four aspects and the psychoanalysis significance behind in the four films.Chapter four analyses the absence of subjective in the90s Chinese movies, studies subject positions of Jiang Wen’s films and the image of father and mother, points out that showing the Jiang Wen’s personal life experience in it.After the investigation of these four aspects, we can see the adaptations of the films directed by Jiang Wen are effected by the external motives and internal logic. Although the film represents the interests of capital, for Jiang Wen, the movie should be the individual artists’artistic practice. Driven by commercial interests, Capital or social ideology involved more recessive in the films, the will of the individual personalized will gradually fade in Jiang Wen’s films.