The Image Adaptation Of Liu Zhenyun's Novels

Facing the visual impact brought by images,entering the cinema to watch movies has become a daily entertainment for the public to obtain information.Undering the power of visibility,the novel are gradually changing their communication channels.Integrating into the new cultural market through cooperation with films.In the "electric shock" group of writers,Liu Zhenyun's novels as a reference to analyze the writer's choices brought by his image adaptation and the type of novel writing.In this paper mainly selects three works of cooperation between Liu Zhenyun and Feng Xiaogang as an example.From the text and the film,exploring the connection between content and form,and then reflects on the image adaptation of the novel from the perspectice of mass culture.The introduction part roughly states Liu Zhenyun's works and the adapted works and roughly sorts out Feng Xiaogang's films,and sorts out the works and research status of the two people,and points out the ideas and methods of this paper.The text is divided into three chapters to discuss the image adaptation of Liu Zhenyun's novels and the works with Feng Xiaogang.The first chapter is based on the discourse context dominated by image power.The narrative turns to the image narrative and promotes the climax of the novel image adaptation.The writers have "electric shock" to form a new writing paradigm.Faced with the cultural encirclement of image adaptation,Liu Zhenyun's novel creation also has a close cooperative relationship with the film.Not only relieves the anxiety of being present,but also does not give up the responsibility of a writer to pay attention to the reality.The second chapter focuses on the film works between Liu Zhenyun and Feng Xiaogang,and explores the new type of Liu Zhenyun's novel from the integration of nevels and films.As a product of modern technology,"Mobile Phone" is closely related to people's life,but the convenience of new tools has brings indifference between people,and the warmth of rural life has becomes a beautiful vision.Through the pursuit of historical truth,"review 1942" solves the pain caused by natural disasters and the man-made disaster under the pain,the inaction of the government and the alienation of the life of the fleeing individuals."I am not Pan Jinlian" using a woman to petition,uncovering the satire in the absurdity.Behind the abuse of power is the imbalance between the emotional logic and political logic.Among the three works,from the novel to the film,Liu Zhenyun personally worked as a screenwriter,and the cooperation with Feng Xiaogang also brought a different viewing experience.The two narrative methods prompted Liu Zhenyun's novels to form a new writing type.The combination and integration of the film,promoting the development space.The third chapter reflects on the image adaptation from the perspective of mass culture,and acknowledges the existence significance and value of Liu Zhenyun's novels to image adaptation,it also reflects on the delicate degree of character portrayal and the theme classicization.In addition,starting from the acceptance level of the public aesthetic,recognizing the abuse of image consumption,the audience should deal with their own aesthetic judgment and voice.The conclusion part points out the creative choice of Liu Zhenyun in the discourse context of image adaptation.Not only follows the cultural market of the film but also chooses to cooperate with Feng Xiaogang.With the theoretical knowledge of mass culture,reflecting on the value of the images and the acceptance of the audience,and point out some shortcomings of the current research,and propose the spatial outlook of the later research.