| The research on film adaptation of Yan Geling's novels is basically in sync with the practice of film adaptation.It began to set off a boom around 2010 and has since become more and more popular.In the previous researches,most of the researchers only considered the interaction between the single novel text and the film,and almost did not examine the intertextuality between the object text and the Yan Geling's written text.In fact,only by studying the writer's own rewriting of the story and the film's adaptation of the story can a more complete chain of adaptations be made.This article takes the three novel the Flowers of War,Criminal Lu Yanshi and You Touched Me and the three films the Flowers of War,Coming Home and Youth as the main research objects.In the first chapter,the author makes a textual exploration of the film adaptation of Yan Geling's historical novels from three aspects:the development and change of stories' themes,the transformation of the narrative perspectives,and the reproduction of the collective unconsciousness,and sorts out the ideological changes experienced by several texts in the course of history:from the ideal National collective consciousness,to the independent personal consciousness,then to the ethics&consumption consciousness in the film.In the study of film and television adaptation of literature,both the language art and video art should be in a relatively balanced state.However,the excessive attention paid by many belletristic researchers to the text on one side of the scale shifts the image on the other always high up..Therefore,the author has taken a different approach in this paper,namely on the stereoscopic level of hearing and vision,extracting the two narrative elements of sound and color,both of which exist in the text and the image,trying to analyze the different expressions of these two elements in the two media,and exploring their special meaning.The transformation from fiction to film is actually the transformation concerning the relationship between language and image.Sound,as an intermediary,is often overlooked in practice.In the second chapter,the author will focus on the study of sound.The structural function of sound is firstly analyzed.In literature,it is embodied in the modem meaning behind the textual dialogue;in the movie,it behaves as the matching of the film structure and the soundtrack style.The theme soundtracks of the films the Flowers of War and Coming Home have reached a consensus with the plot segmentation and perspective conversion.The romantic temperament of the film Youth suits well its scatter soundtrack style.Secondly,the author summarizes the lyric function and narrative function of the sound.In the lyrical aspect,although there are not many lyrical music descriptions in literature,they can strongly resonate with characters'psychology with the help of an infinite imaginary space.For a film,it can be concluded from the data statistics and music analysis that the length of the soundtrack determines to some certain extent its' emotional tone.In addition,inside the complete music section the exact soundtrack points tend to be highly compatible with the movie plot.At the narrative level,the sounds in the novels and the movies basically show the isomorphism.Both of them play an important role in shaping the characters,explaining the environment,and promoting the plot.In particular,psychological sounds,eavesdropping,and sound close-ups,these unique voices participating in narratives,add a ot to the work.In the third chapter,the author tries to clarify and correct the paranoia of excavating the "film and television characteristics" of literature in the study of film and television adaptation,especially also the fallacy of color as a easily adapted element,and to distinguish between literary thinking and film thinking.The independence of color in literature and film will be discussed after.The film the Flowers of War and Youth are more faithful to the original text than Coming Home,but the former two have made a substantial change of the color.The film the Flowers of War narrowed the narrative space to the church and lost the complete stage in tragic red.Instead,it highlighted several magnificent colors in the gloom of the war.The superficial green barracks and red political symbols in the film Youth replace the red image and dark humanity accompanying with youthful pain in the original text.On the contrary,the contrast between bright tones and dark tones in the movie Coming Home fits the simple and low-key charm of the novel.It can be seen that the replacement and change of colors,rather than copy or reference,will be more able to determine the expression of the meaning and the migration of the theme.Yan Geling once confessed that she was "the purple among the overseas Chinese literature." Continuing the topic of the third chapter,the author further discusses the color tone of Yan Geling's novels in the fourth chapter,revealing why Yan Geling calls herself "the purple".Firstly,the experience of her heading from China to the United States and later other places over the world went along with painful experience of marginalization as immigrants.It cast a shadow to Yan,which makes her similar to the color purple as a cold tone.She,with various experiences and combining with different cultures,is also similar to purple as a mixed tone.Secondly,the interpretation of the female consciousness represented by the "purple" between China and the West is consistent with Yan Geling's view of women.Finally,Yan Geling and her female characters seem to have a double personality:the red personality driven by death instincts and the blue personality controlled by survival instincts.Mixture of the red and the blue forms the purple "female". |
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