Film Adaptation Of Mo Yan’s Novel

Literature and film have developed a bidirectional interactive relationship under the background of image. It becomes a hot spot of contemporary literature and film studies that many novels are adopt into the film and television. There is a huge accumulation on the literary studies of Mo Yan’s novel; however, it has not been a system of studying the adaptation, which needs to be strengthened. As a result, the study of adaptation will become the focal point in this paper.In general, there are aesthetically diversified transformations——homogeneous or varied——between Mo Yan’s novels and film adaptations. Firstly, it is the changes of the theme, which mainly concludes as follows. Some complicated themes become oversimplified, some themes of novels are restated or subversed, and some themes are similar or deepened. Secondly, it is variations of the structure. On the one hand, the structure layouts and the specific circumstances have changed, on the other hand, the main characteristics of Time and Spatial Art between novels and films are different. Thirdly, the typical characters of novels and films have been adjusted. Specific to the main parts of the paper:In the introduction, the author mainly discusses the content of three aspects:the interactive effects of literature and film adaptations, the general survey of Mo Yan and his film adaptations, and the current situation of Mo Yan’s research. All of these make a preparation for the basic knowledge of this specific topic.In the first chapter, the author changes her viewpoint from Mo Yan’s novels to his film adaptations. It explores the changes of themes through four films, namely "Red Sorghum","Happiness","White Cotton" and "Warm", to discuss the specific steering and expression in the process of adaptation.In the Second chapter, the author’s research is based on the fact that novels and films are both narrative arts. Therefore, the author mainly explores through the comparison of plot structure and how to deal with temporal and spatial structure in order to study the variation in structure. In this way, it can not only highlight the main different characteristics of the arts of novels and films, but also find the adjustments and changes in details.The third chapter explores the characters of novels and films, discusses the beautification, circular, conceptualization and creation these four models or means. Specifically, the author’s research starts from the typical characters in novels and films. For example, some characters have become purified, such as Dai Fenglian, Yu Zhan’ao and Nuan; some have been enriched, such as Luohan, Mute and Jinghe; some have been conceptualized, such as Ma Chenggong, Fang Biyu and Master; and some have been added, such as the blind girl and the girl Ya.In the conclusion, the author makes an evaluation in the gain and loss of Mo Yan’s novels and film adaptations, and finds the interaction between the literature and film. Besides, the author focuses on the current Mo Yan’s film adaptations, and pays close attention to the text of the contemporary film and television.The adaptation of Mo Yan’s novels is not a single case, it performs that contemporary writers try to secure their positions and seek breakthroughs in the era of image. This paper aims to observe Mo Yan’s literary works in the film practice, analysis this case of Mo Yan’s film adaptation, and expect the upcoming of Mo Yan’s adaptations. The author hopes that it can enrich the contents of interdisciplinary research of Mo Yan’s novels, and also reflect the development trend and direction of China contemporary literature in the age of image.