从小说到影像的蜕变-——谈《温故一九四二》到电影《1942》的改编
Deducing from Novel to Film to Explore the Adaptation Art from the Review 1942 to the Movie 1942
摘 要：在电影《一九四二》未上映之前，很少有人知道在一九四二年的中国河南，曾发生过这样一场惨绝人寰的灾难。《一九四二》是由我国著名导演冯小刚根据作家刘震云的《温故一九四二》为蓝本改编的。电影上映之后，在引发电影界强烈轰动的同时，也得到了各界人士褒贬不一的评价。在我看来，小说当中模糊的形象、纷繁杂乱的情节，通过光影的转换，以线索的形式绘出一幅灾难的全景图，串联成了有人有物、有血有肉的电影剧本。这不仅是导演的高明之处，同时更成为了这部电影的点睛之笔。本文来自辣;文^论#文~网，加QQ324^9114找源文冯小刚导演在《一九四二》中，着力在故事主题、情节展开、人物形象的重新定位上下足功夫，并通过光影效果和蒙太奇的创造性使用实现了小说和电影这两种不同艺术形式之间的转换，使得改编后的电影内容更丰富，层次感更鲜明，可接受性更强，影响力也更加深远。
关键词：小说；电影；改编；《一九四二》
Abstract：As one of the most anticipated movie, 1942 won the experts and audience's high praise. Besides its great box office, it also becomes the masterpiece of the disaster film trilogy directed by Feng Xiaogang. Actually the film was filmed on Review 1942 which was written by writer Liu Zhenyun. From an investigative novel consisted of chaos clues and abstract images to a compact narrative movie with specific images, the creator made great efforts to adapt the story topics, unfolding of the plot and characters, and made a successful transition of different art farms from novel to movie. Compared to the novel, the movie provided more abundance content, more distinctive layering, more exactly and more profound influence. Taking movie 1942 as example, this paper explored the adaptation art from the review 1942 to the movie 1942 from the aspect of reposition of described perspective and new constructing of visual impacts.
Key words: novel; film; reorganizing; 1942，2657目 录
引论1
一、叙述角度的重新定位1
（一）从一元到多元——故事主题的分化1
（二）从模糊到细致——故事情节的分化2
（三）从群体到个体——人物形象的分化4
二、视觉性画面的新建5
（一）光影效果的创造性使用5
（二）蒙太奇的魅力展现6
三、电影改编后的艺术效果6
（一）电影的内容更丰富，形式上更具层次感6
（二）电影可接受性更强，影响范围更广7
结论7
参考文献8
文献综述9
致谢10，2657