武俠電影中的江湖(2000-2015)

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题名:	武俠電影中的江湖(2000-2015)
作者:	洪迎嘉;Hong, Ying-Jia
贡献者:	中國文學系
关键词:	武俠電影;江湖;臥虎藏龍;一代宗師;師父
日期:	2021-10-07
上传时间:	2021-12-07 11:06:30 (UTC+8)
出版者:	國立中央大學
摘要:	江湖是武俠世界不可或缺的元素，是一種文化建構。筆者認為「江湖」在武俠電影中，呼應類型電影的發展過程，不僅呈現人際關係的互動，也形成特殊的電影語言，成為武俠電影的招牌特色，與文化產生深刻的連結。本文探討武俠電影中江湖的呈現，自1920年起已經有不少經典，然而至兩千年以後的武俠電影，因應國際化的潮流，江湖也有了新的發展。本文首先分析兩千年以前的江湖演變，研究江湖於不同時期的轉變，再討論兩千年以後江湖被賦予的意義，其一是以李安《臥虎藏龍》為代表，將經典的江湖重述與再造，重現為人熟知的江湖，也加入符合時代的價值觀。另一種為對於過去的懷念，以王家衛《一代宗師》以及徐皓峰《師父》為主要討論對象，融入歷史事件以及寫實的風格摹寫江湖，表達對於過去武行輝煌時期的懷念，江湖也與文化認同有關。本文希望藉由討論武俠電影中的江湖在2000至2015年間的變化，了解江湖在時代演變中，被武俠電影導演賦予什麼意義，研究創作者們心目中嚮往的「江湖」 ;As a cultural construct, ganghood (江湖, jiang-hu) is an indispensable element in the knight (武俠, wuxia) world. In the author’s view, “ganghood” in the knight films echoes the development process of the genre. It presents not only the interaction of interpersonal relationships but also forms the unique film languages to become a signature feature of the knight films and create a deep connection with culture. This thesis explores the presentation of ganghood in the knight films, which have had numerous classics since 1920. However, after the millennium, in response to the trend of internationalization, ganghood has also developed in a new way. Firstly, the author analyzes the evolution of ganghood before the millennium and examines the connotations and meanings of ganghood in different periods. Secondly, the author discusses the new perspectives given to ganghood after the millennium and one of which is represented by Ang Lee’s “Crouching Tiger, Hidden Dragon”, which retells and reconstructs a classic ganghood, recreating the well-known ganghood and adding new values of the times. The other is the reminiscence of the past, with Wong Kar Wai′s “The Grandmaster” and Xu Haofeng′s “The Master” as the main objects of discussion, incorporating historical events and a realistic style of portraying the ganghood, expressing nostalgia for the glorious period of martial arts in the past, which is also related to cultural identity. By discussing the changes of ganghood in knight films from 2000 to 2015, the author learns and gains what meanings have been given by the directors of knight films in the evolution of time and examines the “ganghood” that the creators aspire to in their minds.
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