An English film adapted from an English novel

下面为大家整理一篇优秀的assignment代写范文- An English film adapted from an English novel，供大家参考学习，这篇论文讨论了英国小说改编下的英语电影。19世纪英国小说的特点和背景很大程度上影响了以小说改编的英语电影的主题和定位。因为商业化的需求，英语电影在两个方面传承小说的特点并将其模式化。小说与影视存在着许多不可调和的因素，但艺术是人类情感的物质载体。在这一点上，小说和影视作品具有同一性。改编要取得成功，还必须考虑到受众，特别是从读者到观众这一群体的能动作用。

Film is a form of culture. In the context of the current post-modern society, post-modernist film, as the product of the convergence of post-modernism and mass culture, emerges at the historic moment. It is often associated with the commercial logic of consumer society and highly developed scientific and technological media. English novels have always provided rich subjects for English movies until the 19th century, when they reached the first peak in history. The creation of novels has its own characteristics, which also become the basis for the creation of English commercial films.

According to the textual research of postmodern film critic, ha bligh hassan, "postmodernism" as a term, the first by the Spanish scholars federico balzaretti DE became in the editing and publication in 1934, the poetry anthology: Spain and Latin America, 1882-1932 "is put forward. When Toynbee, a famous British historian, used this term in his abbreviated version of historical studies, he referred to a new round of changes in western civilization starting from 1875. And critic Irving Howe in 1959 and 1959, and harry levine again, when using the term refers to the "great tradition realism a hairball". In the 60 s, Leslie fiedler with its refers to the "popular literature which challenge the modernist orthodoxy", while hassan with its exploration by what he called a "to the literary self lonely" this phenomenon. That is to say, the word "post-modernism" has been endowed with new meanings since its birth, and it seems impossible to fix its meaning.

Postmodernism "in terms of its theoretical construction, postmodernism is not a unified model, even without mutual coherent point of view, it is many disorderly combination of idea", as a new world view of postmodernism, a new spirit and value system, a way is to construct the grasp of the world, is characterized by multi-ethnic, no center, anti-authority, trivializes situated, no depth. Postmodernism is deeply suspicious of sanctity, order, convention, tradition and even all concepts and symbols. It doubts not only the utopia of romanticism and the reality of realism, but also all kinds of violent emotions contained in modernism: anxiety, loneliness, unspeakable despair and metaphysical questioning. For postmodernism, any depth is imposed on reality by people for a certain purpose, so it is suspicious. Therefore, the deconstruction and deconstruction of depth have become the typical characteristics of postmodernism.

In postmodern state, leonta thinks that "meta-discourse" and "grand narrative" are meaningless, and points out that today is the era to eliminate "meta-discourse". In the director's opinion, subjectivity is still advocated, and the film's connotation layer is greater than the narrative layer, at least the symmetry or echo between the signifier and the signified. In the new generation of directors, self-consciousness is individualized, subject spirit is atrophy or even split, and they are keen on playing with their own emotions and writing about their personal experience. In a way of "returning to the individual" and "giant discourse" to some extent open the distance, naturally into the secular narrative. In this narrative grammar, the audience looks at the relationship between individuals, groups and even countries with a suspicious eye, and doubts the legitimacy and rationality of individual sacrifices, and even infuses some narcissistic emotions.

The framework structure of British films follows the basic idea of "three uniformity" and takes rationality as the narrative basis. It is believed that only when all details are woven into a logical causal relationship can they form an impeccable and complete film text. In traditional English movie, narrative structure is usually through a complete story home, there is a obvious narrative thread, along the main line, the story unfolds, beginning, development, climax, ending, film director, according to the causal relationship of the story, by editing the different lens consistently meet together, become a complete film. In the "sixth generation" film, the traditional ideology and artistic conception was hit, narrative structure composed of several past or real or imagined story with clips, deconstructs the traditional narrative continuity and systematicness of the movie, the film by the causation and the logical frame bridge, the space and time, abandoned the causation of meticulous rational narrative, pursue the fragmentation of the image.

Since the 1980s, films have undergone some profound changes. This transformation is mainly reflected in the transformation from "narrative film" mode to "landscape film" mode. British sociologist rush directly, "narrative of the film that is realistic, subject to the narrative of the film itself, the landscape of the film, on the other hand, it is not focus on the narrative composition, but the visual sex scenes and images, as a result, the logic of film tilt, narrative in the picture, landscape dominates the narrative. Narrative films are modernist art, while landscape films belong to postmodern films. Postmodern movies using landscape truly achieve the "false more real than real" principle, with the high tech methods of modern electronic media rely on human existing dilemma and deep concern for the future of the world, they provide the image of the world as part of our current life form and aggravate the postmodern life reality and virtual, history and the hypothesis of confusion, for the masses to imaginary utopia has opened up a new path. It often causes a huge visual impact on people in the mirror language, and there are two ways: one is the fragments of collage, and the other is the extreme special effects.

The blurred color, jumping structure, personalized modeling, rhythm of rock and roll, and emotional characters in the film are a way for the director to express his thoughts, so that the audience can experience the life experience of deja vu through the most direct sensory instinct and satisfy the pleasure of experience. Some "sixth generation" directors in their film using a variety of multimedia audio-visual language: such as Flash, DV documentary, MTV, drama, etc., and ultra wide Angle lens, shaking the camera, imbalance of volatile composition, decorative images, the subjective color, audio-visual language skills such as MTV, rhythm, make the style of the "sixth generation" film are more diverse, causing a visual confusion.

The terminal of literary creation is the acceptance of readers. The success of any writer must have a readership group, and the emergence of a kind of literary phenomenon needs the widespread recognition of society. British writers in the 19th century pursued the independence of personality and the happiness and stability of the family. They had a readership based on the family. The writing of 19th century writers has the following characteristics. First of all, write about family and marriage, write about the writer's personal experience. Secondly, stand in their own Angle, tell their own story.

The emergence of these characteristics has its profound background. Because: one, in 19th century England, the best way out for young women with BBBS was to get married. So writing about family and marriage has always been a topic of conversation for writers. Throughout the 19th century, English literature was almost all about the marriage and love of middle-class young people living in the countryside. Almost all of them are knowledgeable, have rich inner world, have unique insights, have their own dignity, and pursue the marriage based on love. The novel ends with lovers finally forming a suitable marriage. Second, although their novels express their independent views on various aspects of society, since the establishment and arbiter of life conventions are men, their discourse will still be influenced by traditional concepts consciously or unconsciously, which will be internalized into the conscious pursuit of life.

Novels come from life to a large extent. Many people are unable to get rid of the inferiority of their own gender deep in their hearts. On the contrary, in their external behaviors, they often show some transcendence of their own gender, including the choice of occupations they were not qualified for before and the cultivation of their interests outside the field of life. To show that gender "transcends" and seeks common interests in society. Of course, this kind of homology psychology takes men as the standard to seek self-worth. Many traditional roles are weakened, and more of them show the meaning and value of being human.

The characteristics and background of English novels in the 19th century greatly influenced the theme and orientation of English films. Due to the demand of commercialization, English films inherit and model the characteristics of novels in two aspects. In general, is "pride and prejudice" and "Jane love" ? type of relationship between men and women.

On the one hand, the classic feature of the novel pride and prejudice is that it summarizes the relationship between men and women in eating and drinking in concise language, and its popularity in English culture also makes the movie of the same name or the love movie of the same type accepted by the public. The movie translates this relationship into various versions of the love story, which makes the virtual love have rules to follow.

The first man's light is always overshadowed by the second. In the novel, Mr. Darcy was almost robbed of his sweetheart by the handsome wickham because of Elizabeth's prejudice and his arrogance. Name, for example, by Helen phil Ding Tong novel Bridget Jones' Diary, one is like a character perfect ? Hugh grant as Daniel Clifford, the other one is a problem but very real colin fales mark darcy. The appearance of the two men made Jones both happy and worried, and she wondered which one she should choose. "Bridget Jones's diary of clues and characters in detail describes many are simple borrowed in austen's works, because the field is a big admirer in Austin. The film another actor colin fales before in a BBC television hit show "pride and prejudice" plays a male leading role when it comes to a large audience, including the author of "Bridget Jones's diary. Fielding said bluntly, she book mark darcy is tailor made for fales, besides himself, who also play a bad mark darcy.

Daniel's flower heart broke Jones' heart and broke her mind of love. But mark's unexpected visit and confession finally broke the ice between them. The story was supposed to be over here, but Daniel came back to Jones and said he thought it was better for her to wait. As Jones hesitated about what to do with Daniel, mark left quietly. At the end of the film, despite the cold, Jones wears shorts and sneakers to recover mark, and the two hug and kiss in the street. Movies use bold imagination to construct impossible scenes in traditional novels, and reserve may hinder their opportunities to pursue happiness. Obviously, modern love stories are more in line with modern people's yearning for life.

As is expressed in the novel, respect should be the prerequisite for women to obtain men's love. Women themselves should also pay attention to their own cultivation and improvement. Movies like Bridget Jones' diary don't forget that advice. The key to Jones' ability to attract the attention of two great men was her decision to try a new life -- to start a journal, to write down every aspect of her life and to feel the joy of change. Her life really turned upside down. What the film emphasizes to us is that everything is Jones' own choice, and it seems that the theme is women's autonomy and self-improvement. However, a deeper look at this issue, it will be found that the essence is still to take the standard of men as the standard, women get only relative freedom and democracy. The good news is that women dare to express themselves and pursue their ideals, including love and lifestyle.

There are many irreconcilable factors between fiction and film and television, but art is the material carrier of human emotion. In this point, the novel and film and television works have the same identity. In particular, novels and adapted films often share the same "hidden text". It is connected by specific actions and events, and provides the basic skeleton of "narration" that cannot be reduced for novels and films. In many cases, that directly determines how a novel is made into a movie. To be successful, adaptation must also take into account the audience, especially the dynamic role of the group from readers to audience. The audience is first and foremost a social subject and the owner of multiple texts. Their social existence and status in social relations determine their horizon of expectation and emotional basis for responding to texts, as well as their evaluation and attitude of choosing and rejecting different texts. If our practitioners can follow the procedures step by step, which corresponds to the down-to-earth adaptation of the novel, then our cultural market, especially the film and television market will play another magnificent movement.

The English novelist USES his pen to convey the voice of human nature's self, narrates his observation and understanding of life and the world, and gives full play to his wisdom, rationality and poetic feelings incisively and vividly. In the 19th century, the first glorious period of the novel, the standard of the widely accepted novel was established. At that time, the perspective and discourse of human nature had not jumped out of the standard of men, and women's worship of men was the infiltration of traditional customs and male consciousness into female consciousness. Compared with feminism in the 20th century, women's "voice" in the 19th century was more gentle, so it was still the standard of artistic creation such as film until the 21st century. Among the many forms of human culture and art. Film is the confluence of art, drama, music, photography and other cultures and arts, which to a large extent integrates the value standard of culture. Starting from the business philosophy of commercial films, English films have always been telling stories in audio-visual language based on the noumenon of films, that is to say, it has never been telling stories in literary style. It made its fortune by using the film itself. To be more specific, it emphasizes "visual image" by mobilizing people's audio-visual illusion to attract the audience. To achieve this, it must adopt a universal and most widely accepted standard of value in its subject matter. The advantage of English movies is that they are commercialized, globalized and close to the audience. It resonates with audiences in different countries, which is also the reason why it wins the market and audience. English women's novels in the 19th century became classics because of their special characteristics, while English films with women as the subject matter were popular.

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