（英语语言文学专业论文）《苔丝》的电影特征.pdf

iv 摘要摘要 “电影式” 这个标签最初作为一个批评术语最早出现在大约20世纪20年代， 在讨论二十世纪的文学上已经是普遍的话题了。 尽管电影是一门复杂的艺术，但是在电影和小说之间仍然有亲密的关系，在 它们之间不仅仅是独特的相似，还有明显的不同。哈代是英国著名的小说家， 虽然在他的创作时期，电影作为一门艺术还没有产生，但是在哈代的小说里面 却蕴含着大量的电影式特征。电影手法的采用，既有利于凸现环境的层次感和 象征感，也有利于人物性格的刻画，从而深化了作品的思想内涵。比如，电影 式视角，电影式对白，电影式情节安排，电影式的人物创作，以及蒙太奇和长 镜头，特写等等的运用。哈代的很多小说都被改变成电影，这些电影不仅阐述 了哈代小说中的电影特征，也为小说和电影之间的交互和融合以及相互提高， 提供了灵感。 这篇论文尝试性地分析哈代小说的电影特征，讨论了哈代小说苔丝和波 兰斯基镜头下的苔丝的不同之处，希望为将小说改编成电影提供一些启发。 基于这个分析过程，论文深入的讨论了小说和电影的不同和相互融合之处, 主 要探讨了小说的电影特征对电影拍摄和观众观看电影角度的影响，同时阐释了 电影的诞生加深了后人对小说的理解。 哈代在作品的景物描写和人物刻画方面， 冥合了后来出现的电影艺术镜头的 某些手法，既丰富了作品的艺术表现手段，也深化了作品的思想内涵。 关键词：哈代的小说，电影特征，蒙太奇，长镜头 “电影式” 这个标签最初作为一个批评术语最早出现在大约20世纪20年代， 在讨论二十世纪的文学上已经是普遍的话题了。 尽管电影是一门复杂的艺术，但是在电影和小说之间仍然有亲密的关系，在 它们之间不仅仅是独特的相似，还有明显的不同。哈代是英国著名的小说家， 虽然在他的创作时期，电影作为一门艺术还没有产生，但是在哈代的小说里面 却蕴含着大量的电影式特征。电影手法的采用，既有利于凸现环境的层次感和 象征感，也有利于人物性格的刻画，从而深化了作品的思想内涵。比如，电影 式视角，电影式对白，电影式情节安排，电影式的人物创作，以及蒙太奇和长 镜头，特写等等的运用。哈代的很多小说都被改变成电影，这些电影不仅阐述 了哈代小说中的电影特征，也为小说和电影之间的交互和融合以及相互提高， 提供了灵感。 这篇论文尝试性地分析哈代小说的电影特征，讨论了哈代小说苔丝和波 兰斯基镜头下的苔丝的不同之处，希望为将小说改编成电影提供一些启发。 基于这个分析过程，论文深入的讨论了小说和电影的不同和相互融合之处, 主 要探讨了小说的电影特征对电影拍摄和观众观看电影角度的影响，同时阐释了 电影的诞生加深了后人对小说的理解。 哈代在作品的景物描写和人物刻画方面， 冥合了后来出现的电影艺术镜头的 某些手法，既丰富了作品的艺术表现手段，也深化了作品的思想内涵。 关键词：哈代的小说，电影特征，蒙太奇，长镜头 ii abstract the label, “cinematic,” since its earliest appearance as a critical term around 1920, has become a prevalent topic in discussions of the twentieth century literature in general. although the film is a complicated art, there is a very close relation between films and novels and there are not only distinct similarities but also obvious differences between them. there are a number of cinematic features in hardys works, such as the plastic feature of vision of his novels, the filmic dialogue, plot, theme and characters, as well as the use of montage and long take and so on. many of hardys works have been adapted for good films, which has not only demonstrated the filmic features of his works, but also provided some helpful inspirations for the further interaction and integration and mutual advancement and development between films and novels. this thesis attempts to begin with an analysis of the filmic features of hardys novels, discusses the connections between the novels tess of the dubervilles and polanskis tess, and tries to compare the differences between them. the process of adapting hardys novels into films is enlightening. based on the analysis and study of this process, the thesis extensively studies the interlinking and interaction between the two different art forms: novel and film. the cinematic features of hardys novels affect the shoot of cinema and perspective of cinemagoers, and in the meanwhile, the cinema deepens the interpretation of cinemas for later generation. the author believes that these studies will have a two-way theoretical significance in the practice of adapting novels into films and also in novel writing in such a film-flourishing age. the novels of thomas hardy are typified by their comedic power, often most powerfully demonstrated by the singular voice of their narrators. yet what makes them arresting novels can also produce a less than satisfactory transformation to the iii world of cinema, where the voice of a narrator often becomes obtrusive. there are links between hardys use of the imagery of film and cinematic narration since there are many parallels also with historical-materialist narration within cinema. these parallels include the use of expository titles, didactism, and montage. key words: hardys novels, cinematic features, montage, long take 论文独创性声明 本论文是我个人在导师指导下进行的研究工作及取得的研究 成果。论文中除了特别加以标注和致谢的地方外，不包含其他人 或机构已经发表或撰写过的研究成果。其他同志对本研究的启发 和所做的贡献均已在论文中做了明确的声明并表示了谢意。 作者签名： 日期： 论文使用授权声明 本人完全了解上海师范大学有关保留、 使用学位论文的规定， 即：学校有权保留送交论文的复印件，允许论文被查阅和借阅； 学校可以公布论文的全部或部分内容，可以采用影印、缩印或其 它手段保存论文。保密的论文在解密后遵守此规定。 作者签名： 导师签名： 日期： i acknowledgements i am grateful to so many people who have made it possible for me to write the thesis. first and foremost, i would like to express my deepest and warmest gratitude to my supervisor, professor chen qingxun, for his valuable advice and guidance in my academic research, and for his meticulous reading and insightful corrections of my work. i would also like to acknowledge the great debt to the other professors who have taught me and helped me all these years, such as professor ye huanian, professor wang xinqiu, and so on. i would like to thank all professors who have taught me during my study at shanghai normal university. i also want to express my gratitude to my classmates, especially my roommates who have always encouraged me to endeavor my efforts to complete the thesis. i want to extend my sincere appreciation too, to all the authors from whom i have cited in the thesis. last but not the least, i must thank my considerate husband for the support and understanding he has shown me through my long years of struggle. because of his love and support, i have been able to devote myself completely to my study. 上海师范大学硕士学位论文 introduction 1 i. introduction thomas hardy (1840-1928), as one of the central literary figures of the victorian era, occupies a high position in english literary history. he was born on june 2, 1840, at bockhampton in dorset, the son of thomas and jemima hardy. his father was a stonemason and bricklayer, his mother had been a domestic servant before her marriage. hardys formal education was meager and it ended in 1856 when he became an apprentice to john hicks, an architect and church restorer in dorchester. like jude fawley in jude the obscure, hardy labored over his latin grammar and picked up the rudiments of greek, but his reading was always erratic. his first novel was not published, but desperate remedies (1871) set him on a career that he found mostly an irritation. over a period of twenty-five years he published fifteen works of fiction, the best of them being under the greenwood tree(1872), the return of the native(1874), the mayor of casterbridge(1886), the woodlanders(1887), tess of the durbervilles (1891)and jude the obscure(1896). these novels, called the wessex novels, i.e. the novels describing the characters and environment of his native countryside, have for their setting the agricultural region of the southern countries of england. his wessex novels have now become very much part of popular canon of english literature and he has achieved increasingly wide recognition in the twentieth century throughout the world. everywhere we look, hardys acute sense of the contingency of social arrangements appears linked to the most traditional and restrictive distinctions between nature and culture. his novels should be read very much as a constable painting is read the landscape as significant as the figures who traverse it, the background as important as the story. it analyses the recurring emphases and implications in hardys innumerable descriptions of birds, plants, insects, light, weather, sound, movement. the ephemeral 上海师范大学硕士学位论文 introduction 2 lives of his human protagonists are seen to be half dissolved in the ceaseless patterns of motion, change and dissolution in the teeming world they inhabit. hardy emerges as no mere story-teller, in the nineteenth-century tradition, but as a poet and a modernist who dramatizes a vision, a way of seeing and understanding the world. so far from being - as has often been claimed an unsophisticated writer, he is a supremely coherent artist whose work everywhere shows the shaping power of his idiosyncratic habit of imagination. hardy is the novelist of english “loving-kindness,” and of the brutality of social and domestic arrangements. he is also the poet and novelist who, more than any other, is at one with the diverse social concerns of wordsworth and shelley. hardys works also suggests an eclectic landscape, with several varieties of “plants” growing out of differing kinds of soil. first, there was his rural heritage, his detailed knowledge of the flora and fauna of the countryside, its dialect and rustic characters. that gave him not only an authentic voice, but such a keen knowledge of nature that, for example, he was able to identify by their calls not only many species of birds but also their characteristic environs. then, exceptionally sensitive to music, both instrumental and vocal, he early became an amateur violinist, often accompanying his stone-mason father, thomas, also a violinist, as a second fiddler at weddings, dances, and other rural occasions. that gave him a sense of rhythm and meter, in poetry and even in novels. from the age of fifteen, and for a number of years thereafter, he studied and practiced architecture, repairing gothic churches, an interest he maintained during his life. that gave him a sense of design and structure. at the same time, he was sketching and painting in watercolor. that made him aware of visual patterns and tone color. thomas hardy, in common with many great writers, harvested his life for his art. “my art is to intensify the expression of things, as is done by crivelli, bellini, etc, so that the heart and inner meaning is made vividly visible” (pinion 143). hardy routinely kept careful notes of people, places, and events, and he used and reused these notes as the raw material for his writing. he is famous for his use of the topography of rural dorset (the fictional wessex), which he described with such 上海师范大学硕士学位论文 introduction 3 precision that one can still follow the paths he wrote about. shortly after the publication of tess of the durbervilles (1891), he gave a copy of it to a friend, showing how to follow tesss wanderings in dorset. in many ways hardy walked his way into his creativity. from boyhood he was an acute observer, noting the dorsetshire world around him with a naturalists eye and a painters sensitivity to light and color, often recollecting specific scenes in vivid detail decades later. paths, roads, and byways he walked, and the people he met on them, the activities he witnessed, the natural phenomena he experienced these all became “a theatre for action in his imagination”. in his twenties he sought to learn london in the same way, walking the streets until he felt he knew the city and all that it had to offer “like a born londoner” (tomalin 63). until old age he walked (as well as cycled) wherever he was. the act of revisiting a spot where he had once enjoyed the view was often all it took to reinforce memory and stimulate a new poem or story drawn from long past experience. many of his characters walk their way through their life stories and personal crises. gabriel oak in far from the madding crowd walks to seek work. michael henchard walks as a stranger into the town (casterbridge) of which he later becomes mayor. tess walks from one set of troubles to another and most of the characters in the woodlanders trudge many miles about their daily labor, and the newlywed lovers in two on a tower walk nine miles to a country railway station to avoid detection. thomas hardy wrote at a time when the novel was undergoing great changes as a literary form. for it was at the end of the nineteenth century that the attitudes, devices, and themes that are typical of modern serious fiction were being developed. hardys satire was directed at “readers who are seduced by the fictions constructed on behalf of a specious christian/humanist society by its dominant cultural mode of representation; tragic realism” (44, 62). of course, most readings, criticism, and adaptations of hardy position him as a practitioner rather than a castigator of this mode. focusing on hardys construction of tragic realist narratives but sweeping under the carpet the strategies he employs to debunk the assumptions that underpin such narratives results in an inaccurate estimation of the author and his texts. whereas 上海师范大学硕士学位论文 introduction 4 henry james and his followers pursued a tradition which privileged narrative consistency through form, hardys approach to narrative which places his fiction closer to the experimental techniques which have much in common with the innovations associated with impressionism and modernism in painting. (wright 20) unlike most other writers who are commonly considered “victorians,” hardy lived to negotiate screen rights with movie producers and to see his novels put before the camera. hardy often expressed puzzlement and diffidence over this new medium a “scientific toy,” as he once called it but early on he grasped the potential of film to expand his readership into new areas. when he was approached by a film company about selling the rights to tess of the durbervilles in 1911, hardy told his publisher, “i should imagine that an exhibition of successive scenes from tess. . .could do no harm to the book, the houses and streets of an apparently identifiable town (such as dorchester) were artfully adapted as tess, and the activities of the inhabitants of mellstock (the village in under the greenwood tree) were modeled on the events and people recalled from childhood. hardys richest narrative material was “reworked more or less directly from . . . life” (millgate 67), and his most evocative scenes were informed by local traditions, rural speech patterns, and remembered experience or observation. it is virtually impossible to disentangle the man from his work. for example, egdon heath in the return of the native is curiously cusped between the two dimensions, mixing the monumental immobility of the objective with a quasi-subjective, sentient life, and clym yeobright ends up in much the same duality. all this is related to hardys cinematic technique of cutting, as it were, from a long, externalizing shot, within which characters become objects against a landscape, to an angled camera or more slanted, subjective perspective. hardys attraction to melodrama and his reliance on coincidenceitself a common feature of melodrama plots as well as his pessimistic tone and sometimes awkward or uncomfortable style, particularly his rather clumsy references to art. his 上海师范大学硕士学位论文 introduction 5 characteristic theme of the modern novel is the isolation of man in a hostile or morally indifferent world. the approach is pre-eminently psychological, with great attention paid to an examination of inner motivations and complicated states of mind. the style is usually complex and often difficult, with much concern for complicated structural devices and for the point of view from which the story is told. and the novelist thinks of himself as not merely telling an amusing or interesting story but as creating a whole fictional world which will be the embodiment of his understanding and vision of life he is a man whose work must be judged by artistic standards, and he does not expect to be understood by more than the small public who can properly apply such standards. in his novels, many times hardy takes us away from the immediate story of the novel in order to make philosophical comments on how his characters situations illustrate far-reaching problems affecting society, religion, nature, or the universe. the tone of these philosophical sections is very different from that of the rest of the book, where poetry and storytelling share a visual beauty. hardy often puts asides the main stream of narration, interrupts and distracts from the novel as if he is afraid that the story couldnt be trusted to make his moral points for him. these philosophical tracts are necessary to take the novel beyond the confines of melodrama or balladry in which a pure woman falls from virtue and is condemned. hardys poetic voice is his most enchanting and hypnotic. he describes landscapes as if they were metaphors for human experience. this poetic voice pulls us away from the story just as hardys philosophizing does, but it also makes us feel rather than think about all the pleasure and pain of life. hardy always regarded himself as primarily a storyteller, and many critics have stressed his connection with the taletellers of olden days, who were the popular entertainers in an age when means of mass entertainment did not exist. in addition, he consciously strived for popularity, and was very sensitive to the requirements and standards of the reading public. he never took special pains over the writing of his novels. when his style is difficult it is usually because the writing is graceless or clumsy and not because he is self-consciously attempting to create a complex verbal 上海师范大学硕士学位论文 introduction 6 structure. he is not at all a psychological writer, as we understand that term today; his novels are not filled with detailed and painstaking analyses of his characters souls. tess of the durbervilles is usually regarded as the best of the thomas hardys wessex novels and the one with the richest connotations. since its publication in 1891, it has given rise to a great deal of criticism and has been subject to different interpretations. some critics have approached the novel through a formalistic perspective and offered a close textual analysis of the formal properties of the novel, such as the tragic form, the narrative elements, the language, the imagery, the symbolism and the structure. however, none of these interpretations has been able to exhaust the rich connotations of the novel, which always invites further explorations and new sights. this thesis attempts to begin with an analysis of the filmic features of hardys tess of the durbervilles, discuss the connections between the film and the novel. the process of