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| 題名: | 懷舊與侯孝賢都市電影美學：《戀戀風塵》、《南國再見，南國》、和《千禧曼波》;Nostalgia and Hou Hsiao-hsien's Urban Film Aesthetics: Dust in the Wind, Goodbye South, Goodbye, and Millennium Mambo |
| 作者: | 曾芷筠;Chih-yun Tseng |
| 貢獻者: | 英美語文學研究所 |
| 關鍵詞: | 侯孝賢;懷舊效果;親密感;城鄉差距;都市空間;《戀戀風塵》;《南國再見;南國》;《千禧曼波》;urban space;Hou Hsiao-hsien;nostalgic effect;intimacy;city/country binary |
| 日期: | 2011-08-30 |
| 上傳時間: | 2012-01-05 14:04:53 (UTC+8) |
| 摘要: | 侯孝賢拍攝台北的都市電影，如《尼羅河女兒》（1987）、《好男好女》（1995）、和 《千禧曼波》（2001）、以及最近的《最好的時光》（2005），一般被認為不受評論者和侯 迷的喜愛。不同於帶有過往時期（1960、70 年代）的濃厚懷舊感的80 年代電影，似乎 一旦侯孝賢開始拍攝台北，電影就顯得空洞。這個問題使我們必須重新探究懷舊的內 涵。懷舊是侯孝賢電影文本中最重要的風格之一，他獨特的半自傳性體裁、以及對台灣 過往歷史的觀照，使其電影語言瀰漫著一種濃厚的懷舊感受。但是，侯孝賢的晚期都市 電影真的就完全不懷舊了嗎？本論文著重探討《戀戀風塵》（1986）、《南國再見，南國》 （1996）、《千禧曼波》三部電影，分析懷舊效果如何成立。本論文的論點是，侯孝賢電 影中的懷舊效果不應該狹義地被定義成以實地取景和非職業演員為核心的寫實主義，也 不應該局限於城鄉二元對立，而是透過描繪一種人與人之間、人與自然之間的親密感而 散發出來。本論文指出，侯孝賢的晚期都市電影，特別是《南國再見，南國》和《千禧 曼波》，雖然在主題和電影語言風格上明顯與過去的電影不同，但仍然帶有濃厚的懷舊 感。本論文試圖闡明侯孝賢電影的懷舊並非來自於他寫實地呈現了過往，而是透過特殊 的電影美學來建立一種懷舊感。 本論文的第一章分析新電影時期最典型的懷舊影片《戀戀風塵》，發現侯孝賢懷舊 的本質乃是一種個人與家庭、朋友、他人之間共享的親密感，以及人與自然之間的和諧 感受。本章提出「懷舊寫實主義」一詞來做為討論基礎，並論證上述兩種親密感無論在 台灣鄉下或在台北城市都可以被找到。第二章轉而討論《南國再見，南國》，影片的呈 現反映出，無論在鄉下或城市，懷舊的對象都已經難以像過往一般親密、和諧地存在。 透過大量與《戀戀風塵》的場景對話，《南國再見，南國》傳達出一種間接的懷舊感。 此外，透過刻劃男主角捷哥這個角色，影片顯示出一種處於危機狀態的懷舊。第三章聚 焦於《千禧曼波》這部描繪年輕人無根狀態和浮動都會空間的電影，探討侯孝賢的新都 市電影美學，包括攝影、舒淇的明星形象、電子音樂，都加強了都市經驗的負面性。而 影片最後出現的夕張場景，則是此片懷舊感的重要來源，顯示出侯孝賢的懷舊感受已不 iv 受國界限制。 關 Hou Hsiao-hsien’s urban films about Taipei, such as Daughter of the Nile (1987), Good Men Good Women (1994), Millennium Mambo (2000), and the last installment of Three Times (2006), have not been received well by his critics and fans. Unlike earlier films of the 80s, which provide a strong sense of nostalgia of the Taiwan in the 60s and 70s, these urban films seem rather empty once the camera focus shifts to the city. This phenomenon calls for a reconsideration on the issue of nostalgia in Hou’s films. Nostalgia is one of the most renowned aesthetic features of Hou’s films in the 80s. His unique semi-autobiographical themes and his concerns for Taiwan’s history shed a strong sense of nostalgia in the filmic language. Is it really the case that Hou’s later urban films are no longer nostalgic? This thesis intends to probe into Hou’s film language to explicate how Hou successfully constructs the effect of nostalgia in his films, especially Dust in the Wind (1986), Goodbye South, Goodbye (1996), and Millennium Mambo (2000). I argue that the nostalgia in Hou’s films should not be defined by a naïve sense of realism focusing on real locations and non-professional actors/actresses. Neither should the discussions be limited to the context of city/country binary opposition. It is rather an effect constructed by the depiction of ideal intimacy in human relationships as well harmony between human beings and nature. This thesis points out that Hou’s later urban films, especially Goodbye South, Goodbye and Millennium Mambo, though seemingly very different in terms of subject matter and film style, are still nostalgic films. The thesis hopes to make it clear that it is not that Hou’s films realistically depict Taiwan’s past which bring out the audience’s nostalgia. It is rather that Hou constructs nostalgic effect in through his film aesthetics. Chapter one of this thesis examines Hou’s quintessential film Dust in the Wind to contend that the nostalgic effect is manifested through the presentation/preservation of intimacy in interpersonal relationship as well as harmony between human beings and nature. ii In this chapter, the notion of what I call nostalgic realism is proposed and discussed. The chapter also demonstrates that nostalgic effect does not lie in the film’s depiction of country only; it can be located in that of the city too. Chapter two turns to Goodbye South, Goodbye. The presentation in the film reflects that the content of nostalgic effect no longer exist either in the country and the city. By numerous allusions to Dust in the Wind, the film conveys the sense of nostalgia indirectly. Through the character of Jack, the film depicts nostalgia in despair. Chapter three focuses on Millennium Mambo, which depicts the rootless being of the youth and the drifting urban space in Taipei. Hou’s new urban aesthetics will be discussed to show how the cinematography, the casting of a female star Shu Qi, and the use of music reinforce the characters’ negative urban experience. The two sequences of Yubari will be pointed out as the key elements of the film’s nostalgic effect, which is not confined by national boundaries. Key |
| 顯示於類別: | [英美語文研究所 ] 博碩士論文
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