符码转换与价值延异——鲁迅小说改编电影的路径与实践

鲁迅小说改编电影有1956年北京电影制品厂的《祝福》、1957年香港长城电影制片厂的《阿Q正传》，1981年的《阿Q正传》《伤逝》《药》和1994年《铸剑》六部作品。这些改编电影在寻找忠实文学原著的精神内涵和契合改编的时代语境间平衡，艺术表达上暗隐当代中国文学性渐弱而视觉性渐显的趋势。改编电影从原小说中挖掘贴合电影表达的质素，强化电影的故事性，强化情节结构，增添情感元素。充分利用原小说中包含着现代性的“看”的思考和现象，在银幕上下、故事内外的各种历史文化影像中试图寻找小说和电影共通的解读编码，演绎成各类影像化模式。鲁迅小说电影改编的实践经验都显示了20世纪中国现代性文化语境中的视觉语言和文字语言影响和交融日益加强的文化现象，体现了中国知识分子的文字文化经历影像转化进入更为宽广的“公共领域”的努力过程。

The Code Conversion and Value Extension in Adapting Lu Xuns Novels for FilmCHEN Li-jun

There are six films adapted from Lu Xun’s novels, i.e., Blessing (1956) produced by Beijing Film Factory, The True Story of AH Q (1957) produced by Hong Kong Great Wall Film Studio, The True Story of AH Q (1981), Shang Shi (1981), Medicine (1994) and Casting Sword (1994). These adaptations looked for a balance between seek ing the spiritual connotation of faithful literary original work and fit ting the context of The Times. In terms of artistic expression, these films are a metaphor for a trend of literary weakening and visual strengthening in contemporary China. Adapted films explor ed the heart of cinematic expression from the original novels, strengthening the story of the film, the plot structure and adding some emotional elements. Making full use of the modern thinking and phenomenon of “seeing” contained in the original novels, these adapted films tr ied to find the common interpretation code between the novel and the film in various historical and cultural images on and off the screen, inside and outside the story, and then deducing into various image-like patterns. Whether successful or not, the practical experience of adapt ing Lu Xun ’s films shows the cultural phenomenon that visual language and written language influence and blend increasingly in the cultural context of Chinese modernity in the 20th century. It also reflects the efforts of Chinese intellectuals to push their literary culture into a broader “public domain” through image language.