A Global Significance of Revisiting ＂Crouching Tiger, Hidden Dragon＂: Reinventing the Wuxia Tradition in the Sense of Global Sisterhood

重探《臥虎藏龍》的跨文化操演：武俠與跨國女性的傳統創新

何有田(Yu-Tien Ho)

《大同大學通識教育年報》 10期 (2014/07) Pp. d1-20

https://doi.org/10.6514/TJGE.201407_(10).0004

摘要

李安的《臥虎藏龍》（2000）在武俠電影史上的意義至少有兩個：其一，它是史上行銷國際市場最賣座的武俠電影；其二，雜揉與創新武俠電影既有傳統，將武俠影片的觀眾群推向跨國的市場。重探《臥虎藏龍》的重要性在於這部文化全球化商品所再現的雖然是具有文化特殊性的武俠傳統，但卻可以跨越文化藩籬暢行於全球電影市場。本篇論文討論李安如何形塑這部影片中女性角色做為嫁接東西文化差異的槓桿，同時創新與承繼既有的武俠影片傳統，最終讓武俠電影躍上國際影壇。在這部電影中主要女性角色再現的是兩種對比的女性形象：命定女子與女強人。這兩種形象其實反映出全球女性主義關注的兩個根本命題，一個是受傳統壓迫的女性，另外一個是女性的增能。這樣的說法也許過於簡化女性議題的複雜性，但全球市場的考量，某種程度的簡化正是該電影再現能夠遊走於不同文化之間，召喚觀眾對電影內容的想像與認同。李安的《臥虎藏龍》透過女性角色讓跨國的文化想像得以成形，藉此建立一種跨文化的武俠電影美學。

關鍵字

文化全球化 ； 女性 ； 臥虎藏龍 ； 李安 ； 全球好萊塢

並列摘要

Ang Lee's Crouching Tiger, Hidden Dragon (2000) is a milestone in the history of the martial arts genre not only in terms of its box office returns but its reinventions of the genre for the global audiences. It is significant to look at Lee's Crouching Tiger in relation to contemporary cultural globalization because the film exemplifies how a cultural product foregrounding ＂difference＂ can be circulated globally. In Crouching Tiger, there are two radical images of woman, fated women and powerful women, coexistent in the three female characters. These two female images are globally applicable in the sense that they address two fundamental feminist issues. Depictions of fated women are concerned with women's victimhood, whereas images of powerful women are concerned with women's empowerment. Together, they invite viewers to reflect upon a global sisterhood through a wide range of cultural imaginary in the representations of female images: from submissive women to tough women. Lee as a cultural mediator has established a cinematic aesthetics of the ＂wuxia＂ genre in such a sense of a global sisterhood for making transnational imaginary of cultural identities possible.

並列關鍵字

cultural globalization ； global sisterhood ； ＂Crouching Tiger, Hidden Dragon＂ ； Ang Lee ； global Hollywood