居間狀態：賈樟柯《三峽好人》中的紀實性、長鏡頭變體與香港流行文化

相較於中國第五代導演早期透過歷史或文學改編的模式拍攝電影，當時正歷經中國時代轉變的賈樟柯，其所具備的居間（in-between）位置促使他開始嘗試將電影鏡頭聚焦在人的生命經驗與現實的捕捉。這篇文章以中國第六代導演賈樟柯的《三峽好人》（2006）為例，探討賈樟柯除了自身處在一個時代的過渡位置之外，他在電影中如何以居間性這個概念貫串《三峽好人》，並進一步問題化三峽。在長鏡頭的紀實性底下，賈樟柯也嘗試開展其獨特的長鏡頭變體，藉由超現實與潮濕的鏡頭這兩種美學策略呈現真實與情感，以及在音像呈現的過程中結合了香港流行文化與華語音樂，將之放在凝視中國底層的鏡頭底下，進而形成賈式獨特的電影美學與影像再現。

關鍵字

賈樟柯；《三峽好人》；紀實性；長鏡頭；香港流行文化

並列摘要

Compared to the fifth generation of Chinese directors who adapted their films through history or literature, the in-between position of Jia Zhangke, who was experiencing a change of China at the time, prompted him to try to focus his films on the capture of human life experiences and reality. This essay uses the example of the sixth generation Chinese director Jia Zhangke's Still life(2006) to explore how he uses the concept of in-betweenness in his film to link Still life and to further problematize Sanshia. Under the documentary nature of the long take, Jia also tries to develop his unique variation of the long take, presenting reality and emotion through the two aesthetic strategies of surreal and humid lenses, as well as combining Hong Kong pop culture and Mandarin music in the process of audio-visual presentation, placing them under the lens of gazing at the subaltern of China, thus forming Jia's unique film aesthetics and image representation.