夜總會裡的感官人生：香港南來文人易文電影探討

易文（楊彥岐，1920-1978）為香港早期南來文人，畢生編導近九十部電影，夜總會是推動劇情常見的背景場所，無獨有偶，其近期出版的年記自傳體《有生之年──易文年記》（2009）筆下流露十足的感官陳述，而夜總會是極明顯的文字標記，聯結電影與年記文本不難發現易文電影、《有生之年》及個人生活相當程度的形成互文，夜總會因此成為他人生─電影的一種轉喻，這就關乎如何運用電影手法達於美學實踐，本文取徑羅德威（Paul Rodaway）每種感官都會對身體進行空間定位進而起到一定作用的論點，探索易文的夜總會運作，也就是如何讓敘事、鏡頭、語言、感官與夜總會產生關係。本文主要以易文於一九五、六○年代執導的《曼波女郎》（1957）、《桃李爭春》（1962）、《月夜情挑》（1968）為解析文本，研討易文三部電影裡夜總會─人生異同的感官敘事，說明夜總會影片的戲劇表徵以及在易文人生的定位，進一步證成易文人生流轉事物遇合的美學底蘊與實踐手法，透過《有生之年》文本、真實人生與影像感官空間起到雙重疊影的作用。

關鍵字

易文；《有生之年》；感官；夜總會

並列摘要

Evan Yang (Yen-Chi Yang, 1920-1978), a man of letters coming from China and taking an early migration in Hong Kong, writes and directs nearly ninety movies in his whole life. In his movies, the nightclub setting serves as a common background to get the plot moving. But the setting not only occurs in movies but in autobiography. Evan Yang's Autobiography (2009), which is recently published, reveals abundant sensual descriptions; the setting of the nightclubs is also highlighted in his words. If one relates Yang's movies to autobiography, certain intertextuality can be found in three different sites-movies, autobiography, and his personal life. Accordingly, the setting of the nightclubs functions as the metaphor of Evan Yang's life-versus-movies. But how does the director apply movie technology in his aesthetic practice? To examine his application of the nightclub setting, the paper will use Paul Rodaway's ideas as the line of approach. To Rodaway, each sense locates the body's space; certain functions will be created thereby. And in Yang's movies, Rodaway's idea will help the paper to read the interweaving relation between the nightclub setting and Yang's narratives, camera lens, language, and senses. With his three movies-Mambo Girl (1957), It's Always Spring (1962), and Spring-Time Affairs (1968)-as analytical texts, the paper will explore how Yang compares the nightclub setting, a kind of sensual narrative, with real life. In this comparison, what the nightclub movies show and how those movies are measured in his life, will be illustrated. Then, the paper will prove how the director/author, in the face of all the encounters with life's change, exemplifies his aesthetic interior and manner of practice. That is, with his regard of both real life and sensual imagery space in the text Evan Yang's Autobiography, Yang does create an effect of parallel shadows.