對立或共構？─《生命樹》與《少年Pi的奇幻漂流》中的恩寵性與救贖性意涵探究

泰倫．馬力克的《生命樹》（The Tree of Life）的論述軸心由兩種道路的對立辯證關係展開，並透過影片之影像、音樂、話語之形塑，呈顯出某種自然╱人性與恩寵之間的對立與救贖性指向。相對於此，李安所執導的《少年Pi的奇幻漂流》（Life of Pi）則在一片寧靜祥和的東方式氛圍的舒緩長鏡頭運動畫面與印度音樂中揭開序幕，呈顯出人與自然（或者說人與動物）之間的某種詩意盎然、純淨、親切而美好的和諧性。而這種透過鏡頭中不斷變換的奇觀化對象所呈現的和諧性氛圍在後續的敘事中逐漸地呈現出某種複調對立性，並在少年Pi遭遇船難後，尖銳化了此一自然╱人性、恩寵與救贖等向度的問題對立性及超越性指向。本論文嘗試從上述論述點出發，探討兩部影片中所呈顯的自然╱人性、恩寵與救贖與文化性等向度問題，並在這些向度的比較中，審視兩部影片的敘事架構、層次等帶給了觀者何種不同的敘事感受性與超越性意涵。

關鍵字

生命樹；少年Pi ；幻見；楊．馬特爾；李安

並列摘要

The film The Tree of Life written and directed by Terrence Malick sets up a dialectical relationship between nature and grace by means of images, music and dialogue, which develops towards redemption. In contrast, the Life of Pi directed by Ang Lee portrays harmony between man and nature, or rather one man and an animal. The film is suffused with an oriental sense of tranquility shot with a long-lens and framed by Indian music. The fantasy and sprit of harmony of the opening scenes are gradually transformed in the story into a type of dialectic when Pi’s boat encounters trouble and the question of nature and grace begins to emerge. This essay studies the contrasting ways in which these two films deal with the subject of nature and grace and the supernatural against the backdrop of diverse cultural backgrounds. It shows how the narrative framework and layers of the two films leave the viewer with a different feel for narrative and for the supernatural.