尽管新时期电影由张骏祥所提出的文学价值问题曾引起广泛的争议,但在电影导演,特别是第五代导演这一边,伴随着对理论争鸣的麻木不仁,他们对文学作品所倾注的热情却呈现出如火如荼的趋势。文学改编在改革开放的20年中成了保证电影票房和艺术质量的制胜法宝。张艺谋就曾说:“中国有一个庞大的作家群,我喜欢的作家很多,像莫言、刘恒、苏童、王朔这几位我所合作过的作家,我都很喜欢。他们的作品作为我的电影的文学母体,在表现文学走向的同时也引导了电影的走向,所以你要看中国电影的发展或者我个人风格的演变,可以看作家们将来的变化。”而理论与实践的疏离还表现在,尽管如何改编文学作品在理论界同样长期争论不休,但电影导演们却把理论的成规弃之如(?)履,依然我行 Although the controversy over the literary value proposed by Chang Chun-hsiang in the new period has aroused widespread controversy, the enthusiasm of the film directors, especially the fifth-generation directors, A trend in full swing. Literary adaptation in the reform and opening up 20 years has become a magic weapon to ensure the success of the box office and art quality. Zhang Yimou once said: “There is a huge group of writers in China and there are many writers I like. I really like the few writers I have worked with such as Mo Yan, Liu Heng, Su Tong and Wang Shuo. Their works are mine The literary motherhood of the film guides the direction of the film while showing the trend of literature, so you have to see the development of Chinese movies or the evolution of my personal style as the future changes of the writers. ”The alienation of theory and practice also shows In spite of the same long-standing debates in theorists as to how literary works are adapted, the movie directors abandon their theories and practices,