再現全球化與後現代：李安電影中「跨界」的人性思維與文化特質(1991-2007)

Representing Globalization and Postmodernism: The Humanity and Cultural Characteristics of "Cross-Border" in Ang Lee's Films, 1991-2007

陳閔翔(Min-Siang Chen)

《聯大學報》 8卷1期 (2011/06) Pp. 111-133

https://doi.org/10.29847/JNUU.201106.0006

摘要

從1991年的《推手》到2007年的《色，戒》，李安電影類型的多樣組合風貌，說明了李安電影的「跨界」性格，正是因為這樣的複雜性，提供了我們觀察全球化及後現代脈絡下台灣的多重認同特徵。本文認為：在當代「美學―政治」的配置中，李安跨界性格代表一種融合的、跨文化的、以及反思人性的美學情懷，其「通貫東西」的導演哲學，透過「人性」的共同思維與感受，李安濃厚的「人文主義」藝術思想，實已超越了單一國家的邊界限制。李安的電影，不僅再現了全球化下電影工業的特殊發展模式，同時也創造了文化流動與整合跨界的後現代視覺空間。

關鍵字

全球化 ； 李安電影 ； 作者理論 ； 後現代 ； 跨界

並列摘要

From Pushing Hands (1991) to Lust, Caution (2007), there are very multiplicate modes in Ang Lee's films that they have displayed the ”cross-border” characteristics of movies. It is the multiplicity to exhibit the interpretation of cultural identity that Taiwan has been interlaced with globalization and postmodernization. In this article, I argue that the ”cross-border” characteristics of Ang Lee's films represents a mixture of cross-culture and esthetic reflection of humanity in contemporary ”aesthetics-political” situation. In other words, the directorial philosophy of Ang Lee is connected with oriental ideas and western culture and aimed at describing the common feeling and understanding for human nature by his movies. The thick humanism of Ang Lee's thought has gone beyond the border of nation-state in artistic meaning. In his ten movies, they both represented developing roles of film industry under globalization and created postmodern multiculturalism space of cross-border integration.

並列關鍵字

Ang Lee's film ； author theory ； cross-border ； globalization ； post-modernism

參考文獻

丹席格爾、吳宗璘譯(2007)。導演思維。台北:電腦人文化。

白睿文、羅祖珍譯(2007)。光影言語：當代華語片導演訪談錄。台北:麥田。

吉奈堤、焦雄屏譯(2005)。認識電影。台北:遠流。

狄克、邱啟明譯(1997)。電影概論。台北:五南。

李達翰(2007)。一山走過又一山－李安、色戒、斷背山。台北:大雁文化。