CAJ | 학술논문

余华的小说《活着》被张艺谋改编成电影后，在情节、视角、意象等诸多方面发生了变化。其中，小说中贯穿始终的“土地”这一重大意象变成了电影中的“皮影”尤其令人关注。论文试从《活着》在小说与电影中所强调的生存基础、历史情感以及各自艺术形式的表达来分析土地与皮影这两大生命意象，进而看出《活着》从小说走向电影在内容上的精神化、意义上的狂欢化和形式上的光影化这三大变化。
여화적소설《활착》피장예모개편성전영후，재정절、시각、의상등제다방면발생료변화。기중，소설중관천시종적“토지”저일중대의상변성료전영중적“피영”우기령인관주。논문시종《활착》재소설여전영중소강조적생존기출、역사정감이급각자예술형식적표체래분석토지여피영저량대생명의상，진이간출《활착》종소설주향전영재내용상적정신화、의의상적광환화화형식상적광영화저삼대변화。
After its adaptation into a film by Zhang Yimao, Yu Hua's novel Being Alive has witnessed many a change in its plot, perspective and images, etc. with the change from"land"———a key image running through the novel———to "the shadow puppet" in the film being the noteworthy change. This paper aims to analyze two life ima-ges land and the shadow puppet from the perspectives of the stressed living basis, historical emotions and the re-spective artistic of the novel and the movie so as to figure out three changes of Being Alive in the spiritualization of its content, the carnivalization of its senses and the presentation of its plot in the form of light and shadows.