- 期刊
談〈色，戒〉的兩種演繹方式
Comparison of Eileen Chang's Spy Ring and Ang Lee's Lust, Caution
摘要
本論文比較張愛玲小說〈色，戒〉，與電影導演李安對此作品的改寫，試圖經由兩相對照中，見出這個故事的不同敘說方式。作品敘說方式，自然是與創作者的時代背景、人格特質，及其所運用的表述媒介有密切關聯。就小說原著而言，張愛玲擅長以巧妙情節來反射、或折射主角心理的幽微轉變，此篇書寫上包括了下列特點：（一）正言若反的人性關懷；（二）色慾及鑽戒的心理驅力；（三）情慾的啟蒙及投射；（四）戲劇性的幻滅與領悟。以電影來看，與原著不同，李安更多採取了直視及俯視的角度，這部片子對於文本的改寫，可以約分為下列六點：（一）比擬父愛匱乏於國事之危墜；（二）大膽以性愛場景演繹情慾之緊張；（三）突顯戰火對於人性之扭曲；（四）鋪陳人性的複雜；（五）戲中有戲的文本互涉；（六）對於大時代的反省與感慨。
並列摘要
This article compares Eileen Chang’s novel, Spy Ring, with the adapted movie, Lust, Caution, directed by Ang Lee, highlighting the different ways of telling a story. Inevitably, the way of storytelling is closely related to the background and personality of the writer or director as well as the type of media being used. On the part of the novel, Chang was good at reflecting or refracting the characters’ psychological subtle changes by cleverly arranging the plot. Her excellent writing techniques feature the following throughout the novel: (1) rebellious humanity; (2) materialistic drives; (3) lust for enlightenment and projection; (4) dramatic disillusion and awakening. On the part of the movie, Lee took eye-level and high-angle shots most of the time. The features of his adaption include: 1) an analogy between the lack of paternal love and national crisis; 2) tension of lust heated up with bold sex scenes; 3) distorted human nature caused by war; 4) presentation of the complexity of human nature; 5) intertextuality as in the ＂play-in-a-play;＂ 6) introspection and sorrow for the era.