On The Film And Television Narratives Of Liu Zhen-yun’s Novels

With modern film and television media exerting deep and wide impact on literary creation, the writerhas been voluntary or compelled to receive various influence and penetration of film and television media.As one of the influential writers of "New Realism", Liu Zhen-yun tries to fuse the narratives of novels withthat of films by a unique perspective. Accordingly, his literary characteristics have shown great change, andthis change will also be reflected in his attempts and transformation of film narratives. The reason whyLiu’s writing can achieve creative transformation is not merely associated with his unique perspectivemapping social problems from joys and sorrows of the little guy, and his human and moral reflection ofdistorted social psychology that people are materialized but empty in soul, but also closely related to itscolloquial, ironic language and "montage" narrative structure. Taking Liu’s novel creation and his relatedfilms as example, this paper attempts to analyze diachronically the narratives of his novels and discuss themode of adaption, the angles and means of narratives, and the artistic method of adaption, which areinvolved in the process of Liu’s recreation of his novels. The analysis and discussion can lead us into therevelation of changes in Liu’s narratives, time and space structure, and artistic taste after the intervention ofmodern media.According to such different films as “Ground Covered with Chicken Feathers”,“Mobile Phone”,“MyName is Liu Yue-jin”,“1942” and their respective adaption features, this paper will render Liu’s recentcreation divided into three stages: The initial stage of his association with television began in1995, whenthe first cooperation between him and the director Feng Xiao-gang made popular the TV drama “GroundCovered with Chicken Feathers”, ten series adapted from his two novellas "Institution" and “GroundCovered with Chicken Feathers”. This phase still witnessed his realistic style, that is, works emphasizepeople’s daily life and change follows work. Then, after nearly10years of painstaking pursuit, LiuZhen-yun reached his second stage of development in2003, when he teamed up with Director Feng again,and launched a film "Mobile Phone", which won lots of applause. In2007, Liu launched the TV series “MyName is Liu Yue-jin”. Different from the writer identity in last two novels, Liu Zhenyun appeared on thescene as a writer and producer, completing his transition from writer to movie producer. In this stage, the movie narratives and the unique expression of time and space in particular are its main features. Andeventually movies “Review the1942” and "1942" jointly push Liu’s creation and his association with filmand television into the mature stage. In this stage, Liu’s techniques such as the interaction of text and filmnarratives, the combination of narrative structure inside and outside, and the shift between authentic andimagined narratives are all to a certain height. From the interaction of Liu’s fiction and modern media, thepath of his writing can be viewed and at the same time the present trend of the development of Chinesenovels can be glimpsed.