The Peony Pavilion: A Study On The Adaptation Of Film

This thesis aims to study the film adaptation of the Chinese classic--The Peony Pavilion,based on Geoffrey Wagner’s adaptation theory after reorganizing and reassembling the film adaptation process of the Peony Pavilion for a hundred years.The author proposes that the film adaptation of the Peony Pavilion can be divided into THREE categories:transposition adaptation,commentary adaptation and analogy adaptation.The artistic characteristics and cultural connotations of the film adaptation of The Peony Pavilion under different media conditions and in different historical contexts is explored.The introductory part mainly introduces the origin and significance of this topic,at the same time summarizes the status quo of the researches on the film adaptation of The Peony Pavilion.The research space and research methodology for this thesis is also suggested in this part.The first chapter analyzes the diachronic and synchronic overview of the adaptation of the Peony Pavilion film in the century.Based on the differences in quantity and characteristics of the adapted works under different historical backgrounds,the film adaptation of the Peony Pavilion is roughly divided into three stages:start-up,booming,and multiple innovation periods.The second chapter explores the transposition-style adaptation of the Peony Pavilion film.Through the combination of virtual and real scenery design,flexible lens language,and montage to switch time and space,the film technique is added on the basis of retaining the stage performance of the Chinese opera as much as possible by using film technology to enhance the appeal of Chinese opera art.The third chapter mainly discusses on the commentary-style adaptation of the Peony Pavilion film with the focus on the parts which have been added to or deleted from the original work in an attempt to remove the performance form of the Chinese opera stage and modifying the original by using the shooting method of the feature film.In this way,the plot structure of the story and the re-shaping of the character images possibly add a tone of new-era annotation to the Peony Pavilion.The fourth chapter primarily digs into the analogy-type adaptation of the film The Peony Pavilion.The fragments or elements of Chinese Opera are used as the means of expression and cultural connotation of the film,which are integrated into the film-based narrative and spatial processing.Relevant inter-texts are recreated on the subject.