北川冬彦の「シナリオ文学」の実践―シナリオ版『阿Ｑ正伝』の構成特色への分析を介して―

本論文主要著眼於北川冬彥的電影劇本〈阿Q正傳〉（1937），兼以對照比較其作品與魯迅原著小說和田漢改編劇曲版〈阿Q正傳〉之異同處為何，以理解他本人在電影劇本〈阿Q正傳〉中的寫作意圖。另外，透過他就〈電影劇本文學〉此分野所提出的理論和主張，對本電影劇本作品究竟帶來怎樣具體的影響作釐清。這是為了奠定日後檢討北川約於同時期創作的〈長篇敍事詩〉詩型的作詩方法時，電影劇本〈阿Q正傳〉中所使用的拍攝技巧或構成特色是如何與其內容作呼應的研究基礎。就結論而言，北川於電影劇本的〈描寫文〉中，除了運用〈改行〉書寫的方式外，透過1. 對話創造，2. 情景描寫，3. 電影拍攝技巧的設定，4. 〈現在進行式〉的〈節奏﹒韻律〉此四個方向作為鋪陳的過程，這就是隱藏於他的〈長篇敍事詩〉創作詩篇中的重要表現技巧與方法吧。

關鍵字

北川冬彥；〈電影劇本文學〉；電影劇本《阿Q正傳》；魯迅；田漢

並列摘要

In this essay, I mainly pay attention to Kitagawa Huyuhiko's scenario ”Ah Q's True Story” (1937) , and try to see its differences by comparing to Lu Xun's original novel and Tian Han's theater work of ”Ah Q's True Story” to see Kitagawa's intentions in this work. Then I will apply his logic recited in the genre ＜Scenario Literature＞ to analyze the filming techniques or the composition features inside the scenario ”Ah Q's True Story”. That is because that ＜Full Length Epic＞ versification which he instituted almost at the same time might be influenced by the creating methods of his scenario works, by examining his writing techniques inside his ”Ah Q's True Story” we could set up the research basis to see their synchronization in the future.In conclusion, Kitagawa not only used the ”Line Changing” method inside the ”descriptions”, but also followed the four writing process - 1. Conversation creation, 2. Scene descriptions. 3. Set of filming techniques. 4. ”Present progressive” of ”Tempo/ rhythm” -to practice his scenario writing. We could consider all these methods are concealed as important expression techniques inside his creations of ＜Full Length Epic＞.