| dc.description.abstract | Abstract
In this thesis are five chapters. Chapter 1 “Introduction”: The former half is generally about motivations, purposes, research methods, and thesis construction which orderly investigate the results of previous studies. The latter half is to construct the history background of the novel “Lust, Caution”, investigate the resource of the story, and cite for the letters between Eileen Chang and Qi Song and the public critique from Yi-Lang Song. It will clear the ambiguity of “Lust, Caution” clear. The translation between Chinese and English are compared and contrasted at the same time.
Chapter 2 “Paper film of Eileen Chang’s “Lust, Caution”” Eileen Chang’s novel is read with the points of views from the film.The film elements which are hidden in the text of “Lust, Caution” are deconstructed. In the text are abundant close-up, such as female bodies, the diamond with symbol meaning. They make such kind of shot language full of erotic implies and projection of the characters’ desire. As to lighting, the low-key lighting of dark atmosphere and heavy lighting of conflicts intensify the tragedy theme. For composition, multiple metaphors of “food” and “sex”, “gambling table” and “dining table”, “drama stage” and “life stage” are showed. As to color, black and white build up heavy gloominess. Red brings out desire and caution. They create striking effects. In sound editing, through monologue, counterpoint, etc, thoughts and perception which are hidden in characters’ inner minds are exhibited. More with the narrating way similar to montage editing art, the characters’ consciousness and mental perception are joined together. It intensifys nothingness and desolation of the text themes.
Chapter 3 “the contrast between origin novel and adaption film (A)”. Eileen Chang’s nationalism is light, but it is true attitude of people living under wars and barely managing to survive. As same as the expression of his image visual effect, Ang Lee’s nationalism is heavy and stirring. Moreover, aiming to the refer of “patriotic drama” which alternative appeared, the critics toward young students’ enthusiasm of saving the nation exposed that Eileen Chang’s satire at the blindness and nothingness of patriotism. Yet, Ang Lee deliberately arranged the shots of full emotion to arouse the romantic patriotism in and out of the framing. He tried to win audiences’ agreement with the characters’ motivation and attitude of assassination plan in the play. Finally in “Tales of Two Cities”, Eileen Chang regarded Hong Kong as a “luxurious and sorrowful city”, but in Ang Lee’s film, Hong Kong changed into a young and energetic city which symbols these young students’ pure and vivid patriotism. As to Shanghai, Eileen Chang reflected Shanghai under the conflict of war. It exhibited externally its trace of colonialism application, but pervaded internally decadence and desolate of “the mood of the century end”. Yet Ang Lee’s Shanghai still stayed at hustle and bustle scene. He reproduced the city imagine of Old Shanghai with aroma details.
Chapter 4 “the contrast between origin novel and adaption film (B)”. For characters’ images, in Eileen Chang’s novel, Jiazhi Wang infatuated in her own perception and illusion. She seems vainglorious and ignorant. In the film, Jiazhi Wang’ self-awareness of faithfulness is what Ang Lee combined with Eileen Chang’s life experience for supplementary remodeling. In Eileen Chang’s novel, Sir Yi is cold and selfish. He viewed Jiazhi Wang’s sacrifice as a tool for self-enchantment. In Ang Lee’s film, Sir Yi loves deeply but had no choice. Executing Jiazhi Wang became a fatal-unresisting unwilling choice. As to dual dialectical themes, it is separated into “love and desire” and “fidelity and rebellion” the two issues for discussion. For the novel part, Freud’s Psychoanalysis is cited to interpret Jiazhi Wang’s interaction with the others and research the confliction and adjustment among “id”, “edo”, and “superego” in the her personality structure. In the film part, the views of Simone de Beauvoir’s “The Second Sex” are used to interpret three sexual plays of the process of male and female’s attack-defense and intercourse, conquest and anti-conquest. It also responds to Ang Lee’s logic “ Passion is from lust; love is from passion.” In the other theme “fidelity and rebellion”, the subversive writing strategies has the prospective meaning of forsaking patriarchy and nationalism dissertation. However, Ang Lee’s warm comfort unconsciously shows the value of patriarchy. Finally, as to the part of image art, through the features of glass and mirror’s image: fragility, reflectivity, and segregation, characters’ fragility, fear, desire, and loneliness are exhibited.
Chapter 5 “conclusion”. Essence in previous chapter are listed systematically. The reciprocal benefits and limits of combination of two different mediums novel and film are be analyzed again. It is expected that after all opinions are spoken out, novel and film can be given an objective comment.
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