張作驥電影《忠仔》析論

張作驥《忠仔》承襲1980年代以來寫實電影風潮，甚至試圖走出自己的新寫實電影路線，以身處邊緣社會的底層少年阿忠作為主角，以長鏡頭或遠鏡頭之固定框架，描述單一畫面，背景設定為關渡平原保護區，雖名為保護區，實則並未如此，以此揭示政策實行之落差。間或以全黑停格畫面，標示段落之間的停頓與連結，呼應全片黯黑調性的邊緣社會。人物以語言與畫外音，標示人物於家庭與社會的關係及隸屬的階層，並佐以八家將臉譜與動作，傳達來自民間的俗文化力量，足堪為電影史留下其痕跡與意義。

關鍵字

張作驥；《忠仔》；寫實電影；底層

並列摘要

Tso-chi Chang's Film ＂Ah Chung＂ is a realistic film, which is produced in the Spicit of Time (Zeitgeist) of Neo-realism in Taiwan in the 1980s. This film even attempts to blaze a new realistic trail. The leading role of this film, Ah Chung, is a juvenile from the bottom and margins of the society, the society called subaltern youth. This film uses the fixed frame of long take or long shot to describe a single screen. The background is set at Guandu Plain of Nature Reservation. Although it is a protected area, in reality is not fully protected. In fact, it reveals the gap between policy and implementation. Full black stop-motion screens are occasionally shown to signify the pauses and links of sections and respond to the margins of society of dark tonality in the entire film. The roles in the film use language and dialect to represent their family relationships and social strata. In addition, the faces and movements of Ba Jia Jiang are used to express the power of folk culture. Therefore, this film is actually significant in the film nistory for the Taiwanese.