| dc.description.abstract | 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. | en_US |