| In the early days of China’s cinema,the tradition of "adaptation" was gradually formed under the influence of the concept of movie theater and film business,and it is in this artistic environment that comic book adaptations of live-action films developed.Live-action films adapted from comics are not simply "another way to tell a story",but have the characteristics of cross-media narrative,which highlights the comprehensive characteristics of film art.Against the historical background of social unrest and constant wars,the live-action films of the Republic of China have gone through a process from germination to maturity in terms of creative techniques and expressions,and have gradually explored the artistic expressions and aesthetic experiences combining commercial and humanistic concerns,comedy and tragedy under the influence of realistic creative philosophy.The thesis consists of three main parts:The first chapter,"The Gobbledygook of Comic-to-Live-Action Films," focuses on the historical conditions and factors of the emergence of comic-to-life films in China from three aspects: comic art,film art and commercial competition.In the 1920 s and1930s,China’s long-running comic strips were already very mature,especially their humorous and satirical art style was unique,which directly provided the basic prerequisites for the creation of comic-to-film adaptations.Under the influence of this artistic tradition,coupled with the competitive film business environment and strict film censorship mechanism,mature comic works have gradually become important objects for film adaptation.Chapter 2,"Cross-media Narrative from ’Comics’ to ’Film’",analyzes the cross-media narrative of manga-to-film adaptation from three aspects: plot,characters and space.By adapting the original manga-cutting and adding to the plot,inheriting and transforming the characters,and emphasizing and contrasting the space-early filmmakers made the film and the original manga balance between "like" and "are " The balance between the film and the original manga is achieved,reflecting the cross-media narrative characteristic that the two media complement each other under the same narrative system.The third chapter,"Live Action Comics as a Genre of Comedy," places live action comics in the context of comedy creation in the Republic of China,and explores the transmutation of artistic concepts and comedy creation methods of early filmmakers.With the intensification of social conflicts in the Republic of China,and under the influence of left-wing cinematic realism,the comic-to-reality film gradually changed from the pursuit of funny and comic "mere laughter" to a comedy with social criticism and "laughter with tears".It reflects the contradictions and conflicts between the lower class and society in the Republic of China,and reflects the early filmmakers’ common sense and humanistic concern.In the concluding part,the author believes that the live-action film adaptation of comics in the Republican period shows the possibility of intermingling different arts and is a useful attempt and effective exploration of cross-media narrative between comics and film art,reflecting the cultural psychology of "change" and "no change" in the artistic expression of early Chinese filmmakers."It reflects the cultural psychology of our early filmmakers in terms of artistic expression.Tracing the history of comic book to live-action films allows us to take a broader historical perspective on the artistic outlook and aesthetic experience of early filmmakers,thus providing inspiration and reference for the creation of comic book to live-action films in the present. |
