影片的来源在电影理论中,改编往往是最狭窄最偏远的领域,但是关于改编的论述,却是可以任君发挥无远弗届的。它的独到特点(将电影符号系统与其他系统中的先在的成就相匹配),在一切再现性的影片中,均可得到明显的表现。让我们从《乡村一日》这个片例谈起。让·雷诺阿给自己提出一项任务,把他的知识、他的班底和他的艺术技巧用于居伊·德·莫泊桑的这个故事。无论我们怎样评价这部影片的制作或它的成就,它的“存在”本身便多少得益于原来的故事,故事既是本片的灵感,又暗含着衡量本片的尺度。原作《一次郊游》同任何或所有改编它的影片之间的关系,是一种先验关系,因为这个故事本身尽管未必具有完整的含义,但却是一个具有既定形态和既定价值的艺术征象。一个新的艺术征象将把这种原先的征象当作它的所指或它的参照物。那些自称是忠于原作的改编影片,把原作当作所指;那些受原作本文的启 The source of the film In film theory, adaptation is often the narrowest and most remote areas, but on the adaptation of the argument, but you can freely play far-reaching. Its unique features, which match the cinema symbology to its predecessor’s achievements in other systems, are evident in all reproducible films. Let’s start with the example of “Village Day.” Jean Renoir set himself a task to apply his knowledge, his teamwork, and his artistic skills to the story of Guy de Maupassant. No matter how we evaluate the production of the film or its achievements, its “existence” itself benefits much from the original story. The story is both inspired by the film and implicitly measures the film’s dimensions. The original “outing” with any or all of the films that make up it is a priori relationship because the story itself, though not necessarily in its complete meaning, is an artistic sign of an established form and of established value. A new artistic sign will regard this original sign as its reference or its reference. Those who claim to be faithful to the original adaptation of the film, the original as the reference; those who are original to this article Kai