《推拿》小說及其影像詮釋的視覺表述

The Novel ＂Blind Massage＂ and Its Visual Expression of Image Interpretation

蔣興立(Hsin-Li Chiang)

《新竹教育大學人文社會學報》 9卷2期 (2016/10) Pp. 59-81

https://doi.org/10.29895/ATFSAS.201610_9(2).0003

摘要

《推拿》聚焦於視覺時代的盲人日常生活，藉由「盲」與「見」的差異，勾連城市空間與身體欲望。本文透過比較研究，探問小說及電影如何從視覺角度，思索現代人對於城市語境與感官欲望充滿悖論的依存關係？小說與電影的呈現手法有何殊異？小說家畢飛宇勾勒出一群時代盲從之流的「盲逆者」，沙宗琪推拿中心的盲者，儘管失去了視覺，卻難能可貴地保有身為人的形上價值。婁燁則透過影像，傳達一種身體真實接觸的溝通之道。文學與電影，藉由殊異的方式，畢飛宇與婁燁卻殊途同歸地傳達出對於時代的抵抗性與救贖性意義。

關鍵字

推拿 ； 畢飛宇 ； 婁燁 ； 視覺表述

並列摘要

The exclusive feature of the novel Blind Massage is in adopting blind people as the protagonist, which being rare in Chinese literature. Blind Massage emphasizes more on daily life of blind people within the visual world; it connects urban space and physical desire throughout the visual differences between ＂blind＂ and ＂sighted＂. This study aims to discuss how novel and movie demonstrate the paradoxical dependence for modern man on urban context and sensual desire in a visual point of view? Additionally, what message and significance would be delivered via different media? In facing the market monopoly caused by globalized transnational capital, transnational corporation shaped discourse hegemony and produced middle class taste for selling merchandise, which led masses a ＂multiple blindsight＂ in negative effects of globalization, exploitation of capitalism to weak people, and paradox of subaltern city. The conformism of eager for ＂quick success＂ and ＂instant benefit＂ had become an indestructible consensus for sighted people in that age. Bi Feiyu, the fiction author, depicted a cluster of ＂anti-blind＂ in the conformism times; although the blind massagers of Sha Zonggi massage center lost their most critical senses, as human being, they still holding a precious metaphysical value. Nevertheless, Lou Ye, the film director, proposed a hypothetical assumption to regain the natural state through images, further to convey a communication channel of actual physical contact, a descriptive language beyond visual sensory. Despite the novel and film interpreted the same story in diverse media and exhibition mode, however, both Bi Feiyu and Lou Ye expressed the resistant and redemptive significance to the age in their works.

並列關鍵字

Blind Massage ； Bi Feiyu ； Lou Ye ； visual expression

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