迷濛暗夜，孤寂大街：歷史黑色電影的幽暗意識

黑色電影，這個一九四○年代初期至五○年代末期所發展出來的電影運動，可說是最具爭議性但也最令電影研究者和工作者著迷的課題。德國表現主義所形成的視覺風格，晦暗的敘事基調，塑造一個不安、無奈，甚至虛無的社會景象。而黑色電影所呈現的意涵與美國經濟大恐慌時期爾來的社會狀況，以及戰後普遍存在的價值幻滅有著密不可分的關係。大部分的黑色電影都環繞在犯罪和偵探驚悚敘事結構上。這些類型提供電影作者較自由的想像空間，以創新的形式來刻畫充滿困惑、絕望的世界。評論家或有將黑色電影視為一個運動，類型，或類型的組合，不一而足。奈墨爾(James Naremore)將塑造黑色電影內涵的四、五０年代電影稱為「歷史黑色電影」(the historical noir)。不論如何，黑色電影所蘊含的黑色意識是界定這些電影的指標。

關鍵字

表現主義；黑色意識；歷史黑色電影；硬漢；伊底帕斯結構；天使殺手

並列摘要

The 1940s and 1950s witnessed the emergence of film noir, one of the most controversial and fascinating film movements in world cinema. With the Expressionistic visual style and dark mood, film noir created a sense of uneasiness, hopelessness and nihilism. The emergence of the movement is closely related to the impact of the Great Depression since the 1930s and the postwar disillusionment after the Second World War. Most noir films are of the crime drama, detective mystery and the thriller. The characteristics of these genres provide filmmakers with much creative inspiration to portray a world of confusion and desperation. According to James Naremore, noir films can be roughly divided into two periods: the historical noir, the movies that initiated the filmic stylistics in the 1940s and 50s; and neo-noir, those films created since the early 60s that contain the noir sensibility and certain basic stylistic elements. It may be justifiable to say that the noir sensibility is the fundamental criterion to define a noir film. This paper will focus on the configuration of the noir sensibility in the historical noir so as to construct one of the possible frameworks of reading film noir as a whole.

並列關鍵字

Expressionism ； noir sensibility ； the historical noir ； tough guy ； Oedipal structure ； angelic killer

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國際替代計量

迷濛暗夜，孤寂大街：歷史黑色電影的幽暗意識

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