| 摘要: | 本論文共分五章，第一章「緒論」，前半部概述研究動機及目的、研究方法與論文架構，整理探討前人研究成果；後半部建構小說〈色，戒〉歷史背景，原型索隱，並引用張愛玲、宋淇書信資料及宋以朗公開評論，為〈色，戒〉正本清源。同時比較〈色，戒〉中英文譯名間的異同。 第二章「張愛玲〈色，戒〉之紙上映畫」，以電影的觀點閱讀張愛玲的小說，解構〈色，戒〉潛藏文字後的電影質素。文中大量出現的特寫鏡頭，無論是女性的身體，或是富含象徵意象的鑽戒，讓此類鏡頭語言充滿情色暗示，及人物慾望投影。在燈光影調上，以低調的幽暗氛圍，硬調的明暗衝突，強化作品的悲劇主題。在場景構圖上，從動態與靜態構圖中，表現出「食」與「色」，「賭桌」與「餐桌」，「戲劇舞台」與「人生舞台」的多重隱喻。在色彩語言上，以黑白兩色為基底的沉重抑鬱，紅色所浮出的欲望與警示，製造出極醒目的效果。在聲音剪接上，通過獨白、對位等方式，披露人物隱匿心中的思想與感知，加上類似蒙太奇剪接的敘事手法，組接人物意識與心理感受，強化「虛無」、「荒涼」的文本主題。 第三章「原著小說與改編電影的參差對照（上）」，張愛玲的國族意識雖然冷靜淡然，卻是身處戰亂肆虐下凡人苟全性命於亂世的真實心態。李安的國族意識如其影像傳達的視覺訊息，是沉重也是激昂的。再者針對穿插出現的「愛國話劇」的所指，小說中對青年學生救國激情的批判，突顯張愛玲對愛國主義之盲目與虛無的嘲諷。李安卻刻意安排飽滿情緒的鏡頭，博取觀眾認同劇中人謀畫暗殺行動的動機與心態。最後，在雙城故事中，張愛玲仍將香港定位在「華美而悲哀的城」，但到了李安鏡頭裡，香港的活力象徵著這群青年學生單純躍動的愛國熱情。對於上海，張愛玲體現在戰爭衝擊下的上海，對外展現出殖民文化洗禮的痕跡，對內瀰漫「世紀末情緒」的頹靡荒涼，李安的上海卻停留在明艷繁華的熱鬧景象，從細節韻味中再現對老上海的都市想像。 第四章「原著小說與改編電影的參差對照（下）」，就人物形象而言，張愛玲的王佳芝迷戀於自己的感知和幻覺顯得虛榮蒙昧，電影裡王佳芝堅貞的自覺，正是李安揉合張愛玲的生命歷程進行補充重塑；張愛玲的易先生冷酷自私，將王佳芝的犧牲視為驗證自我魅力的工具；李安的易先生深情無奈，處決王佳芝乃無力抗拒命運的非自願抉擇。就雙重主題部份，分為「愛與欲」、「忠誠與背叛」進行辯證，小說部分引佛洛依德精神分析學理論，解讀王佳芝與他人的互動中，其人格結構中「本我」、「自我」、「超我」的衝突與調節，電影部份以西蒙．波娃《第二性》觀點切入，呼應李安「由色生情、由情生愛」的邏輯。在另一主題「忠誠與背叛」中，張愛玲顛覆性的書寫策略具有挑戰父權體制與國族論述的前瞻性意義，然而李安的溫情卻無意識地再現父權價值。最後意象藝術部份，透過玻璃與鏡像的易碎、映照和隔離的特徵，表現人物的脆弱、恐懼、慾望、孤獨。 第五章「結論」，整理前述各章精華，並再次評析小說與電影兩種異質媒介結盟的互惠與互囿，期望於眾聲喧嘩後，給予小說與電影客觀評價。 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. |
