以《斷背山》為例從通俗情節劇角度探討李安作品

電影導演李安近年來在全球電影市場中表現傑出亮眼，獲獎無數，佳評如潮。回顧李安從業至今的作品，除最初的「父親三部曲」(推手、喜宴、飲食男女)外，其餘作品皆由文學作品改編而成。是否因此於比較其他導演與李安導演的作品時，發現李安的電影似乎缺乏強烈的個人色彩。各家媒體皆讚譽李安數十年間不斷向自己挑戰，而且從未拍攝過相同類型的作品。那麼，我們該如何定位李安? 應該將李安歸類為藝術成分為重的非主流作者型導演? 或是以商業市場為取向的電影導演? 此論文旨在探討與發現李安作品中是否有其典型個人特色，並試圖從其風格迥異的各個作品中找出共同點，以揭露李安導演之作品受全球市場歡迎的可能原因。本文第一部分將呈現李安導演電影中的多元性，包含儒家思想，道家思想，以及其他思維。第二部分將以道格拉斯瑟克著名通俗劇作品之ㄧ與李安導演的《斷背山》做情節及效果的比較，進而探討李安導演之各類型作品可否被視為一種全新的、李安式的通俗劇。

關鍵字

李安；電影類型；《斷背山》；通俗劇；道格拉斯瑟克

並列摘要

Ang Lee’s films have been very popular in the global film market in recent years. Lee also has won many awards from different academies in the world. Yet, when reviewing his oeuvre, it is hard to find a coherent pattern to Lee’s films. Is this the reason why when comparing Lee's films with other directors', it seems hard to find a quintessential characteristic of Lee in his oeuvre? Lee has consistently challenges himself by directing different types of movies and has not repeated the same themes. If that is so, then how do we define the genre of his works? Unlike Alfred Hitchcock or Woody Allen, Lee does not make films in a specific genre, so does that make him a commercial director instead of an artistic auteur? In the first part of this paper, I will show the diversity of Ang Lee’s potential influences including Confucianism, Taoism, multiculturalism, and many others. In the second part of this paper, I will discuss Lee’s films by comparing his Brokeback Mountain to Douglas Sirk’s All that Heaven Allows in order to support my claim that the principle genre of his oeuvre is melodrama, but in his own style.

並列關鍵字

Ang Lee ； genre ； Brokeback Mountain ； melodrama ； Douglas Sirk

參考文獻

Works Cited

“Abcense Makes The Heart Grow Fonder.” Kingdom of Style. 7th Nov. 2013. n.pag. Web. 16 Jul. 2014.

Ames, Roger and Henry Rosemont Jr. The Analects of Confucius: a Philosophical Translation. New York: Ballantine Publishing Group, 1998. Print.

Brooks, Peter. The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess. New Haven: Yale University Press, 1976. Print.

Burgoyne, Robert. “National Identity, Gender Identity, and the ‘Rescue Fantasy’ in Born on the Fourth of July”. Screen Vol. 35, No. 3 (1994), 211-234.

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以《斷背山》為例從通俗情節劇角度探討李安作品

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