中国网络小说的电影改编

Abstract

Film adaptations of Chinese network novels are an important part of the cultural industry. Various audio-visual experiences can be brought by adapting popular network novels into films, which are not available in network novels. The readership of the network novel can also be transformed into the audience of the movie, thus increasing the box office of the movie. Moreover, the movie can also promote the publication and sales of the network novel, so that the network novel can be spread secondarily and expand its influence. The network novel’s film adaptation refers to the process of adapting the network novel into a screenplay and then making it into a film. Unlike traditional novel adaptations, network novel adaptations are movies or network blockbusters that are broadcast on TV platforms, in cinemas and online. Currently, the main methods of adapting network novels to the film are reproduction adaptation and rewriting adaptation. The network novel was first adapted into a movie in 2000 and has been around for almost 21 years now. The development process of a network novel’s film adaptation is mainly divided into the exploratory, the development and the prosperity. There are 132 movies adapted from network novels that have been shown in cinemas and on mainstream online platforms from 2000 to 2021. The network novel film adaptation model has been formed and gradually improved as the three Internet giants Baidu, iQIYI and Youku join the film industry, and occupy a place in the U.S. market. As the market for film adaptations of network novels continues to expand, a number of problems have emerged along with it. Firstly, There are problems with the creation of network novels. Secondly, there are problems with the process of film adaptation of network novels. Finally, There are problems with filmmaking. The corresponding countermeasures to improve these problems are: first, countermeasures related to network novels, including improving the quality of network novels, improving the literary quality of network writers, and protecting the copyright of network writers. Second, film adaptation-related countermeasures, including the need for film teams to explore novel film adaptation themes, consider the relationship between business and art when adapting films, and coordinate the relationship between literature and audiovisuals. Third, countermeasures related to film production, including directors and filmmakers need to control the quality and quantity of films, conduct market research, actively involve audiences in film production, and establish alliances between network novels and films. In the context of the rapid development of network novel websites and the increasing number of popular and richly-themed network novels being adapted into movies or network movies, this paper has the practical significance of research and the value of continuing in-depth research.