| 摘要: | 嚴歌苓筆下受到華人導演青睞，而獲改編成華語影劇的小說作品以「中國歷史類」為題材的小說為主；相較之下，使嚴歌苓在文壇拔尖、成名甚早的「海外移民類」小說，反而缺乏影劇合作契機，在影視改編成果上較無表現。從嚴歌苓獨立創作的三部「歷史類」小說，到陳沖與張藝謀兩位導演據之改編而成的三部電影《天浴》（1998）、《金陵十三釵》（2011）與《歸來》（2014）之間，儘管看似題材承繼相沿，人物一脈相承，敘事手法或歷史觀點上卻表現出許多或幽微或昭彰的差異，這使得原著小說與改編電影，在立意格局以及風貌精神上均產生相當程度的變化。
筆者不同意前人研究論點承認張藝謀改編電影《金陵十三釵》或《歸來》的藝術成就與嚴歌苓嚴原著小說相互輝映，甚至進一步認為，嚴歌苓並非全然認可張藝謀改編電影中的敘事手法或歷史觀點。就嚴歌苓實際的創作軌跡、聲明脈絡與陸續出版的小說文本等細節來看，其小說與張藝謀改編電影的敘事手法不乏扞格與乖違的跡象，甚至可說不無暗藏玄機、攻防對應之處。
綜合本論文論及多部嚴歌苓改編電影與小說文本的細讀分析，與創作脈絡的整理，其中也依稀透露出，當面對其筆下小說源源不絕上門的改編電影邀約，面對主流電影與通俗文化的性別／權力觀點，嚴歌苓所作出的應對策略。小說家並不通盤認同電影改編的操作手法，反而展現高度獨立自主的創作意識，在其小說文本中鑲嵌了獨到的藝術安排與敘事技巧，作出別富深意的抗拒與巧妙的反擊。嚴歌苓嚴明捍衛其小說中對立於權力中心的邊緣政治批判立場，與不同於流俗或權威的歷史視野，乃至不甘於通俗與保守的藝術價值。;Geling Yan’s novelistic works, which win the Chinese directors’ favour and areadapted into Chinese films, are written as the theme of “Chinese history”; in contrast, thenovels of “overseas immigration”, which make Geling Yan outstanding in the literary world and become famous extremely early, suffer lack of opportunities of film cooperation and show relatively scarce performance on film adaption results. Among the three films “Xiu Xiu: The Sent-down Girl”(1998), “The Flowers Of War”(2011) and “Coming Home”(2014), which are from the “history” novels independently composed by Geling Yan to the adapted works directed by the two directors Joan Chen and Yimou Zhang, the theme seems coherent and the characters come down in one continuous line, either narrating techniques or historical points of view, however, display plenty of vague or clear differences. This phenomenon makes the original novels and adapted films generate rapid variation on purposive situations and stylistic essence.
The researcher disagrees with the previous thesis, which admits that the artistic achievement of the films “The Flowers Of War”, “Coming Home” adapted by Yimou Zhang and Geling Yan’s original novels mutually reflect. The researcher states even further that Geling Yan does not entirely identify with the narrating techniques and historical points of view which Yimou Zhang’s adapted films reveal. In terms of the details, such as Geling Yan’s genuine composing locus, sequence stating and the published novel texts in succession etc., the novels and the narrating techniques of Yimou Zhang’s adapted films
perform no lack of contradictory and abnormal phenomena, and even there cannot be said without hidden mysteries and of-and-defensive correspondence.
Synthesising plenty of Geling Yan’s adapted films, the analysis after perusing the novelistic texts and the arrangement of composing sequence that the thesis discusses, Geling Yan’s reacting strategies seem to vaguely reveal while facing continuous invitations
of film adaption for her novels and confronting mainstream cinema and popular standpoints of sex and power. The novelist does not identify with the operating skills of film adaption but expresses high-independent composing conscious; embedding her unique artistic arrangement and narrating skills into her novelistic texts, she conveys resistance full of deep meanings and ingenious counterattacks. Geling Yan strictly and impartially defends her novels against the power-centred critical stance of marginal politics in order to differentiate from prevalent or authoritative historical visions, then she even appears reluctant to comply with common and conservative artistic value. |
