從文字到影像：論《父後七日》的荒謬哲學

電影《父後七日》上映後造成廣大迴響，劉梓潔將父親離世和治喪期間的心情轉折寫成「散文」，再按故事內容改編為「劇本」，最後拍攝成「影片」搬上大螢幕，從四千字的散文到九十分鐘的影片，成功締造文學與電影聯手出擊的雙贏盛況。本文分別就散文中多處運用括號及問號的書寫形式，以及鏡頭語言像是拼貼、扮演的表現手法，試圖從「存在主義」哲學視角，從卡繆所定義書寫荒膠的三個結果：反抗、自由與熱情，詮釋一場荒腔走板的民間喪禮，如何透過戲謔和嘲諷揭開殯葬習俗的荒謬性，並藉由「荒謬」主題引發省思關於死亡與儀式的嚴肅課題。立論作者之創作意圖並不在抨擊傳統習俗，而是用文學和電影填補荒謬與現實的裂縫，藉由對儀式的揶揄表達人類對死亡的無知，以及這份無知如何在傳統儀式中找到安頓悲傷的位置，圓滿為人子女護送父親最後生命旅程的心意。

關鍵字

劉梓潔；父後七日；荒謬性；存在主義

並列摘要

〞Seven Days in Heaven〞 is a popular cultural movie adapted from Liu, Zi-Jie's prose of the same name. As soon as the movie was released, it gained big popularity among Taiwanese. This essay was conducted to examine how the movie has aroused the masses' collective nostalgia memories and gathered the cohesion to local culture. This study was come out under the Existentialism Theory and take Albert Camus's book 〞The Myth of Sisyphus〞 as the theory reference to explain the 〞absurdity〞 in both the prose and the film with a philosophical point of view. Firstly, the findings indicated that Liu used 〞brackets〞 and 〞question marks〞 to emphasize her insightful thoughts and inquiries in the prose. Furthermore, Liu put exaggerated and ironic elements into the movie to render the absurdity of the funeral by the way of composing dramatic characters as well as collage techniques. Therefore, this research concluded that based on Camus's three consequences of absurdity: revolt, freedom and passion, Liu's inquiries about the meaning of rituals are kind of conquest of consciousness. She converted her father's funeral ceremony into a mocking family festival which represented her freedom to master the absurdity. Lastly, 〞Seven Days in Heaven〞 was her passion to creations, as well as to her beloved father.