篇名 | 王家衛電影中的南方轉向 |
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卷期 | 46:1=456 |
並列篇名 | Southern Orientations in Wong Kar-wai’s Movies |
作者 | 伍軒宏 |
頁次 | 009-044 |
關鍵字 | 王家衛 、 南方 、 南方論述 、 香港電影 、 華語電影 、 Wong Kar-wai 、 the South 、 Hong Kong cinema 、 Chinese-Language cinema 、 THCI |
出刊日期 | 201703 |
DOI | 10.6637/CWLQ.2017.46(1) |
本論文以王家衛電影中的「南方」符號或指涉為核心,討論他的十 部長片如何以「南方轉向」作為敘事策略,透過方向的改變牽引故事、人 物的轉向,以及意義的指向。在不同作品中,不同指涉「南方」的地點代 表了不同的價值,施展不同的作用,王家衛因「片」制宜,建構不同的意 義。本論文分五個部分,討論「南方轉向」:1.《阿飛正傳》等六部王家衛 作品中,南方轉向的移位明顯,南方符號扮演重要轉折的樞紐,本文稱 之為「南方支點」系列,並詳細分析此六部電影的轉向意義;2.《旺角卡 門》等四部王家衛作品中的南方指涉比較隱晦,本文稱之為「南方隱喻」 系列,並詮釋它們的暗示;3. 本文第三部分運用有限篇幅耙梳文學與文 化理論中的「南方論述」,並將之與王家衛電影的南方傾向,做出連結, 希望透過比較與對照,幫助理解電影中的「南方轉向」;4. 第四部分說明 「轉向的意義,意義的轉向」;5. 最後,以討論王家衛「再度南方」的策略 作為結語。
This article aims to investigate the strategy of “southern orientations” deployed in Wong Kar-wai’s feature films, up to The Grandmaster of 2013. Generally a “turn” to the south, in the form of displacement to a southern location in cinematic spatial arrangements, is invoked when Wong’s movie needs a resolution to the dilemma posed to his protagonists. For the purpose of analysis, Wong’s movies are divided into two groups in terms of the question of the south: those in which the turn to the south or southern orientation is prominent and plays a crucial role in the trajectory of the story, as in Days of Being Wild and 5 others, and those in which the turn to the south is less outstanding or even negligible, as in Chungking Express and 3 others. In the first group, the turn to the south serves as a pivot, while in the second group, it works metaphorically and tangentially. The article proceeds to explore the different significance, values, and effects of different “southern orientations” in Wong Kar-wai’s movies in the context of a general discussion of the meaning of the south as well as the strategy of the “turn,” in relation to the particular deployment in each of his movies.