| 摘要: | 萬仁是台灣新電影研究中備受忽略的一位重要導演。萬仁的獨特「居間性」(介於作者導演與好萊塢風格之間、介於嚴肅議題與通俗語法之間)，使其作品既反映了台灣新電影的題材與特質、但又不容易以既有的分類與劃定加以涵蓋。因此，對於萬仁全體作品的重新觀看，細加對照與比較，或許可以深刻化、豐富化、細膩化對於台灣新電影的瞭解。本論文即是針對萬仁的電影、試圖規劃出一個初步空間，期盼日後更多研究者加入討論。 論文第一章，藉由分析萬仁的首部短片《蘋果的滋味》(1983)，從中提取出萬仁於日後作品裡所持續關注與深化的母題：城鄉關係、女性與都市、城市與歷史。第二章討論《超級市民》(1985)與《惜別海岸》(1987)中的城鄉議題；城鄉差異，作為現代化和都市化的結果，始終是八零年代台灣新電影所極為關心的主題之一。然而，萬仁以這兩部電影，拆解了又進而複雜化了城鄉對立的論述，以辯証角度重探城鄉關係。第三章聚焦於《油麻菜籽》(1985)與《胭脂》(1991)此二部家庭通俗劇，探討女性如何回應本質上以父權邏輯運作的都市化與現代化。同時，萬仁聚焦於家庭中的母女關係，以母女之間的衝突與協商、斷裂與延續，超越了台灣新電影中所常見的對於父權譜系之斷裂、對於「現代」破壞「傳統」的焦慮。最後，第四章初探萬仁在九零年代 (或謂「後新電影」時期) 攝製的兩部重量級作品：《超級大國民》(1994) 與《超級公民》(1998)。《超級大國民》以年邁的白色恐怖受難者為主角，轉換了看待城市的視角，使台北從一座無深度、無歷史的後現代城市，重新顯影為一座歷史沉澱豐厚的後殖民城市：殖民與鎮壓的歷史皆銘刻于城市空間的質地裡。《超級公民》以年屆中年，政治理想幻滅、生命意義頓失的中年前社運份子為主角，在一座不再完整具體、只是作為交通匯聚車流交錯的流動城市裡，這位閩南人偶遇一原住民青年鬼魂。萬仁藉此深刻反省了後解嚴年代民主運動的侷限、族群認同的難題、以及歷史敘事的困境；城市作為一個異質空間、一個差異會合的場所，使得「遭遇他者」成為可能，也為認同的死路打開了一個另類出口。 Film director Wan Jen is the ignored by studies on Taiwan New Cinema, which mainly focus either on Hou Hsiao-hsien or on Edward Yang. In fact, Wan Jen’s unique position in Taiwan New Cinema could shed light on, further complicate, enrich and refine our understanding of the most important movement of Taiwan Cinema. In this thesis, I would like to investigate and interpret Wan Jen’s oeuvre in chronological order, in order to see what Wan Jen shares with New Cinema directors and how he differs from his contemporaries. The thesis begins with a Preface, which introduces the context of Taiwan New Cinema in general and Wan Jen’s relation to it. Wan Jen’s debut film The Taste of Apple (1983) demonstrates many of Wan Jen’s later concerns and styles are taking shape. Thus, Chapter One maps out the three issues, class, gender, and history in Wan Jen’s films. The topics include city-country conflict, gender and urbanization, and historically inscribed city, with which the following three chapters would take turns to deal. Chapter Two investigates the “city-country conflict” in Super Citizen (1985) and Farewell to the Channel (1987). With the two films, Wan Jen sets city and country in dialectic encounter, breaking up with the fixed discourse of “city versus country” common in Taiwan New Cinema. Chapter Three probes Wan Jen’s Ah-Fei (1984) and The Story of Taipei Women (1991), shows how Wan Jen adopts family melodrama to portray women’s responses to urbanization and modernization. By focusing on mother-daughter negotiations, Wan Jen goes beyond the anxiety about the rupture of patriarchal lineage in Taiwan New Cinema. At last, Chapter Four reviews Super Citizen Ko (1994) and Connection by Fate (1998). The two films turn urban space into a heterotopia, in which encounter with the (historical and political) Other makes for possible alternatives to present impasse concerning Taiwan’s future. |
