胡金銓韓國取景古裝片的跨國地理想像

冷戰時期，在東亞資本主義陣營中，韓國與香港、臺灣等華人地區透過電影進行的獨特交流得以繼續。這一系列交流的結果之一在韓國被通稱為「韓中合作」電影。這些電影在冷戰時期激發了跨國想像力，並促進了相互交流。本文旨在這些電影當中透過胡金銓的兩部古裝片《空山靈雨》和《山中傳奇》（均為1978年放映）來考察兩部電影在韓國取景的背景和意義。到目前為止，評論家們對胡金銓電影的關注主要集中在道地的武打片上，而這兩部相對被排除在討論重點之外。但是，由於最近由臺灣的國家電影中心（TFI）所領導的修復工作揭示了兩部電影的真實價值，故而有必要進行重新評估。本文采用語境（context）研究的方法，分析了其外景拍攝對作品的影響。尤其是透過將取景問題分類為空間（space）和場所（place），進而試圖深入研究胡金銓對空間的了解和描寫以及如何體現對場所的致敬（homage）與其風格化。當然，在本文中分析取景的脈絡，最終將導致有關電影文本的解釋。

關鍵字

胡金銓；空山靈雨；山中傳奇；冷戰時期華語古裝片；韓國取景電影

並列摘要

During the Cold-War, in the East Asian capitalist camp, unique exchanges through cinema between South Korea and overseas Chinese cultures, such as Hong Kong and Taiwan, had continued. The results of this series of exchanges were then called ＂Korea-China joint cinema＂ in S. Korea, and spurred trans-national imagination within the limits caused by the Cold-War, and facilitated interaction. This paper intended to consider the background and meaning of the location filming in S. Korea, through two Costume Films ＂Raining in the Mountain 空山靈雨＂ and ＂Legend of the Mountain 山中傳奇＂ (both were released in 1978), those were shooted in S. Korea by King Hu(胡金銓). So far, critics' interest in King Hu's films has largely been focused on hardcore martial arts films. These two films were relatively out of focus of discussion. However, due to remastering work which is recently led by the TFI(Taiwan Film Institute), the true worth of the two films revealed, and the necessity for a re-evaluation emerged. Accordingly, This paper analytically examined the effects of the location filming on the work, with method of context study. Especially, by categorizing location problems into spaces and places, this tried researching deeply how recognition and materialization of spaces, ＂homage＂ and 'stylization' about placess are embodied out. Of course, exploring the creator's perception and deed about location filming in this paper, will ultimately be connected to the interpretation of the film text itself.