作家•導演•出版：多重主體“合謀”下的九十年代中國電影小說

Writer, Director, Publisher: Chinese Film Novels of the 1990s under the “Conspiracy” of Multiple Subjects

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

發軔于二十世紀初葉的中國電影小說在 1940 年代中後期出現發展的第一次高潮，但在此後長達近半個世紀囿於多重因素發展相對緩慢。進入1990年代以來，在影像文本的電影和紙質文本的文學二者共同誘導與塑造下，電影投資方、製作方等製作主體，導演編劇、作家等創作主體以及圖書出版方等媒介主體這些與電影小說相關的各方對電影小說的本質屬性、生成機制、價值作用等有了充分而深入的認識，以“作家主動參與”、“導演自覺利用”、“出版争相涉足”爲三大表徵，電影小說的創作與行銷成爲電影界、作家界、出版界等多方聯袂協作、互利共贏的一種“合謀”與“狂歡”，由此促使電影小說逐步勃興，並爲在新世紀出現第二次發展高潮奠定了堅實基礎。

Chinese film novels debuted in the early twentieth century and saw their first climax in the mid-to late 1940s, but for various reasons had been relatively slow to develop for nearly half a century. Since the beginning of the 1990s, as the production of film and film texts underwent some reciprocal developments, there was much more interaction among film investors, producers, filmmakers, directors, screenwriters, writers, and other media subjects, such as book publishers. Stakeholders from all walks of life started to have a full and in-depth understanding of the essential attributes, generation mechanisms, and value of film novels. This new development is reflected in three major phenomena, namely, “writers’ active participation,” “directors’ conscious use of these novels,” and “publishers’ contests for publication.” Characteristically, the creation and marketing of film novels have become a kind of “collusion” and “carnival” of the reciprocally beneficial collaboration of the filmmaking industry, writers, and publishing circles, which have led to the gradual rise of film novels and laid a solid foundation for its second peak of development.