作　　者： ; ; ;

机构地区： 奥斯陆大学

出　　处： 《外国语文》 2010年第1期9-15,共7页

摘　　要： 以电影改编艺术为重点,以约瑟夫.康拉德的中篇小说《黑暗之心》(1899)以及弗朗西斯.福特.科波拉执导的电影《现代启示录(2001年新版)》的部分材料为佐证,探讨如何运用叙事理论分析文学文本和以之为题材或改编而来的电影之间的关系。为了强调批判重心,本文将重点放在电影文本的开篇叙事方式上,通过简要讨论《黑暗之心》开篇中的叙事情境,以及叙述者从无名的外层框架叙事者(frame narrator)到内层框架叙事者船长马洛的过渡,详细解读《现代启示录(新版)》中的"智能复合"场景。援用道利.安德鲁的术语,本文认为《现代启示录》是科波拉运用交叉模式对康拉德小说《黑暗之心》进行极其有趣的改编而成的,因此它在叙事方式和主题表现方面与小说形成了一种间接、但又富有暗示的有力呼应。 Focusing on the art of film adaptation, this lecture will discuss how narrative theory can be used in order to analyze the relationship between a literary text and a film based on, or inspired by, that text. The main examples will be Joseph Conrad＇s novella Heart of Darkness （1899） and Francis Ford Coppola＇ s film Apocalypse Now Redux （2000）. In order to sharpen its critical focus, the lecture will concentrate on the narrative beginnings of the literary and filmic texts. After having briefly discussed the beginning of Heart of Darkness, including its narrative situation and the transition from the anonymous frame narrator to Marlow as main narrator, the lecture will present a detailed reading of the ＂Intelligence Compound＂ scene in Apocalypse Now Redux. Appropriating a term coined by Dudley Andrew, the lecture thus considers Coppola＇ s film as a very interesting adaptation in the ＂intersecting＂ mode, constituting an indirect yet suggestive and forceful response to narrative and thematic aspects of Conrad＇ s novella.

关 键 词： 电影改编 交叉模式 智能复合 场景 比较

领　　域： [文学]