The Female Characters In "Red Classics" Adaption

The Literature between 1950s and 1970s was always called"17 Years'Literature"or"Cultural Revolution Literature"due to the strong "political discourse" color affected by the leftist ideas in the special historical period. Consequently, the criticism of the literature during this period wavered between positive and negative again and again. After the Cultural Revolution, it was completely desolated by the academic world. Then, later in the 1990s, a re-interpreted craze about the"17 Years'Literature"and"Cultural Revolution"was launched, and the literary works once been neglected was focused as"Red Classics"again. After 2000, the adaption of"Red Classics"became popular in the screens. However, this kind of adaption brought not only praises, but also many controversies, which made the"Red Classics Adaption"a hot issue in academic circles.This thesis indicates that, in a time when market economy and consumption era is approaching, while the literary works which had ever been a mainstream and then been neglected for a long time reemerges in a new form before us, the literary causes and the differences between the two versions, the literary version and the television version, in two different period, should be analyzed carefully. Especially, the changes taking place in the same image should be explored necessarily. This thesis mainly concentrates on the female characters in"Red Classics"and their adaptations. Based on the comparative study between the original novel version and its adapted television version about their different image-buildings in different times, this thesis clarifies the revealing different understanding of aesthetics, love and the status of women, as well as the complex and delicate relationship between mainstream discourse and political ideology. Meanwhile, the significance of these female roles in different times, the cultural essence and cultural consequences of the adaptation are explored in this thesis.In the literature during 1950s to 1970s, the buildings of female figures were strictly disciplined by the political ideology and a unique aesthetics of"Prefer to face the powder, rather than powder the face."At the same time, Women's love is closely related or even depends on the political revolution. Along with the increasing regulatory training, this unique aesthetic narrative and love narrative gradually became a rigid mode, and the image of women was politically symbolized. In the corresponding adaptation, because of the involvement of capital, arts must move closer to the market, "Red Classics" has to become a cultural consumption finally. As a result, females in the adaptations have quite a different concept of aesthetic and love,"red"is preferred, love and revolution become symbiotic. These changes of images are to meet the needs of consumer market. The political symbolization, female figures in"Red Classics"have gradually been consumption symbolized.