A Study Of The Adaption Of A Dream Of Red Mansions

This thesis, taking the TV play A Dream in Red Mansions, first filmed by CCTVin1987and then invested and refilmed by Beijing TV in2010for example,concentrates on discussing the problems arising from the TV play reprogramming.It consists of introduction, main body and conclusion.Introduction:The classical characters and multiple visual effects of the novel, ADream in Red Mansions cast great potentials on the reprogramming of it as a TV play.So no wonder various kinds of forms of art, which are widely spread, have been triedto reprogram it since it comes into being200years ago. With the arrival of the picturetime, the reprogram of A Dream in Red Mansions presents some quite differentcharacters under such consuming language context.Main body:The first chapter, based on the novel, analyses both the advantagesand disadvantages of its reprogramming as a TV play. The first section of the firstchapter focuses on the advantages, which are discussed in two parts, the innerclassical characters and the characters of multiple effects, including sounds, picturesand shapes. While the second section, mainly through analyzing the difficulties anddisadvantages exiting in the reprogramming, explains its request in the new editionhoping to adopt its good points in the last trying and avoid its shortcomings.The second chapter, by means of comparing the1987edition with the2010edition from the characterization, music, costume and plots, tries to find the goodpoints and shortcomings of each other.The third chapter pays more attention to the analyses of reflections left by theclassical reprogramming in the consuming time, expecting to summarize the aestheticand time symptoms reflected in the reprogramming process, which also plays as atheoretical summary and sublimation of the phenomenon analyses in the secondchapter. This chapter includes two sections and the first section claims that theclassical reprogramming should follow the objective laws of TV plays. Two smallmatters are discussed in this section, the first is the relation between the technique andart in the reprogramming, which is to say that the use of technique should not cause damage to the art of films and TV plays and the second is to discuss the reasonabletransition of image-text through the example of narratage in the new edition. Thesecond section demands that the classical matters should be respected and looked upto in the reprogramming and the adapters should coordinate the three unitarities wellwhich mean the unitarity of modern consciousness and original spirit, the unitarity ofcommercial appeals and artistic value and the unitarity of aesthetic character andpublic popularity. Only by doing so, can a classical good work both carrying on andpromoting the classical characters and popular with the public be brought into reality.Conclusion:At the time of consumerism, the reprogramming of classical filmsand TV plays are not just for the sake of an ideal or pure art, the motivation has beentransformed into the pursuit of ultimate classical economic realization, which is acomplete market operation of cultural industry aiming for the utmost profit. At thisbrand-new age, we should get rid of fickleness with a modest and courteous mind andcarry forward the classical characters as well as its learning and cultivation and do agood job in passing our marvelous culture on to the following generations.