研究生:
楊嘉玲
學位類別:
碩士
校院名稱:
國立成功大學
學年度: 89
[摘要]
台灣擁有豐富的文化面貌,現今客家文化已有逐漸式微的趨勢。任何一種文化的消失,都是全人類的損失,所以保存文化是當前刻不容緩的工作。綜觀全球,目前許多國家已有結合文學與電影的系列論述,台灣在這方面仍屬從缺狀態,因此筆者先就台灣客籍作家的部份加以研究。
本論文共分為五章。第一章旨在介紹台灣新文學史上,文學作品曾被改編成電影的台灣客籍作家,包括鍾理和、鍾肇政、吳錦發與藍博洲。仔細審視他們在文壇留下的痕跡,並逐一討論他們個人的成長背景,從中了解他們的內在思緒,以及展現於文學的特殊風格。
第二章主要討論這四位台灣客籍作家的文學作品,改編成電影後的基本風格是否掌握得當,並深入探討電影編劇如何刪改及鋪陳故事情節,將鍾理和、鍾肇政、吳錦發與藍博洲的文學作品搬上銀幕。
第三章針對文學改編領域裡所談的結構問題,就四位客籍作家的文學原著以及改編電影作深度分析。探討電影如何重新塑造人物形象,達到適合銀幕的效果。其後討論原著與電影的語言風格,詳細檢閱原著改編後的電影語言,是否貼近日常生活,表現電影語言該有的真實感與說服效果。
第四章比較時空、韻律與主題之不同。文學和電影在時空方面的處理,有顯著差別,因而影響文學與電影的韻律表現。本章針對文學與電影韻律基調的不同,說明它們的韻律風格與元素,以及這兩種相異韻律之共同點,並探討原著與改編後的主題呈現。
第五章深入原著和改編作品進行文化層面與意識形態分析。討論客籍作家的作品,如何受到台灣大環境的影響,他們與時代互動的關係,在文學創作中呈現什麼樣的意識形態,同時探討編劇和導演試圖藉著影像與觀眾進行何種對話。最後深究客籍作家作品所凸顯的客家意識,以及被搬上銀幕所呈現的面貌。
此外,在附錄中整理了鍾肇政與鍾鐵民的訪談錄、四位作家的寫作年表、電影基本資料,與相關的圖片說明,供未來研究者參考。
Taiwan possesses
a rich cultural heritage. In modern times Hakka culture in Taiwan is
gradually vanishing. The disappearance of any culture is a loss to all
of humanity, and cultural preservation is a task of paramount
importance. Integrated theories of literature and film have been set
forth in countries all over the world, but none have been formulated
in Taiwan; therefore, this writer will attempt an initial study of the
works of Taiwanese Hakka writers which have been adapted to the medium
of film.
The thesis is
divided into five parts. The first part introduces those works of four
Taiwanese Hakka writers---Zhong Li-He, Zhong Zhau-Zheng, Wu Jin-Fa,
and Lan Bo-Zhou---which have been adapted to film. In order to come to
an understanding of the intrinsic thought and literary styles of these
writers, the lives and literary legacies of each are examined in
detail.
The second part
discusses the major works of each of these Hakka writers and considers
whether or not the filmed versions of these writers works have
successfully grasped the essence of their styles; moreover, this
section explores how, in bringing these works to the screen, the film
scripts have changed or altered the stories and plots of Zhong Li-He,
Zhong Zhau-Zheng, Wu Jin-Fa, and Lan Bo-Zhou.
The third part
deals with the problems of turning literature into film, conducting an
in depth analysis of the original works of these four Hakka writers
and the filmed versions of their works; explores how the filmed
versions have reworked the characterizations to achieve results
suitable to the screen; discusses the styles of language of the
original works and the filmed versions, and conducts a careful reading
of portions of the scripts to assess whether or not the language of
the film scripts is true to that of daily life.
Part four
compares differences in time and space, rhythm , and theme---there are
obvious differences in the ways in which literature and film deal with
problems of time and space; this section deals with conceptual
differences and similarities inherent in those mediums, explaining the
rhythm, style, and basic elements of each, and discussing the
presentation of theme in the adapted film versions.
The fifth part
carries out an in depth cultural and ideological analyses of the
original works and the film adaptations, discussing the influence of
the greater Taiwanese cultural environment on the writers, the
relation of the writers to their era, what sort of consciousness or
ideology is expressed in the works, and the type of dialogue in which
the scripts and directors attempt to engage the audience. Lastly, this
section explores how a uniquely Hakka consciousness is embodied in the
writers’ works and what aspect this has taken when presented on the
screen.
Additionally, an appendix includes interviews with Zhong Zhau-Zheng
and Zhong Tie-Min, a chronology of the works of the four writers,
essential information about the films, and related photographs and
captions. |