《功夫嘻哈》電影劇本創作論述

A Critique Essay on the Film Script “Kung-Fu Hip Hop”

楊靚姝(CHING-SHU YANG)

指導教授 ： 杜子樹

國立臺北藝術大學/戲劇學院/電影創作研究所碩士班/碩士(2009年)

https://doi.org/10.6835/TNUA.2009.00102

摘要

《功夫嘻哈》為筆者原創劇本，故事描述在武術學校就讀的黃飛鴻第五代傳人黃小藍因父親癌症，被緊急召回香港接掌寶芝林。為了贏回被法拍後當作獎品的寶芝林產權，她必須招募隊員參加全港武術競技大賽。訓練過程中與臥底的功夫嘻哈高手史立格擦出愛的火花，當史立格揭露他健身中心臥底身分時兩人決裂，必須在武術競技大賽時一決勝負。小藍以其人之道還治其人之身，用對方的功夫嘻哈加上寶芝林絕技「佛山無影腳」一擊得勝。

本劇為高概念以劇情導向為主的娛樂電影，長度約為一百一十分鐘，類型為功夫愛情喜劇，依照好萊塢三幕劇的結構定出嚴謹的時間點，有清楚的前景故事動作線，並輔以功夫文化傳承、老少兩對男女的愛情角力，以及釋放壓力，在傳統中展現創新為次情節，目的是創造一部娛樂效果佳並適合兩岸三地合拍的好看商業電影。

本論述詳細分析本劇的發想及創作歷程，闡述主題功夫結合嘻哈，以及男女對愛情的不同定義，以及相關的文獻探討；介紹類型電影定義和與本劇相關之類型介紹，相關作品比較則分運動電影、愛情喜劇和功夫電影三方面探討。運動電影方面以香港賣座片「少林足球」，及好萊塢賣座片「魅力四射」作比較，愛情喜劇以好萊塢賣座片「絕配冤家」及台灣賣座片「海角七號」做比較，功夫電影則以同樣有兩代愛情的「臥虎藏龍」比較之；然後詳細分析本劇結構、文本，探討本劇敘事手法、主題和意識型態，以及評析各個角色；最後再以筆者在創作過程得到的心得和期許做總結。

未來筆者將會繼續以「創作前景故事和背景故事俱備的好劇本」為目標，並持續在提案、製片和發行上多元化地探出觸角，加深各方面的完整歷練。

關鍵字

功夫 ； 武術文化 ； 嘻哈 ； 愛情 ； 武術競技 ； 比賽 ； 電影 ； 劇本

並列摘要

“Kung-Fu Hip Hop” is an original script written by Jessie Yang.

The main character Huang Xiao-Lan is the 5th generation of the prestigious Kung-Fu Master Huang Fei-Hung. Lan was in the Martail Art School but recalled back to Hong Kong by her grandmother. Because of her father’s disease (cancer), Lan must take over the family heritage martial club Bao-Zhi-Lin.

Lan recruits members to join the Hong Kong Martial Art Competition, in order to win the Grand Prize, The property of Bao-Zhi-Lin which is auctioned by the bank.

In the process of the training, Lan falls in love with the Kung-Fu Hip Hop expert Leo Sherman, who is actually an undercover. When Leo discloses his true identity as the Manager of Wonderful International Gym, they break up and inevitably face a fight against each other in the Competition. During the competition, Lan beats Leo with his own Kung-Fu Hip Hop, in combination with the Shadowless Kick, a long-lost unique skill of Bao-Zhi-Lin.

This script is an entertainment film with the Hi-concept plot-driven. The length is approximately 110 minutes, the genre Kung-Fu romantic comedy. It has strict time points according to the Hollywood Three-Act structure, with a clear foreground storyline and the supporting materials of the inheritance of martial art, the love confrontation of two couples (young and old), and the pressure released within the process of innovation to the traditions. The Purpose is to create a commercial movie which could be acceptable and suitable for the cooperation of Taiwan, Hong Kong and China.

The discussion analyzes the inspiration of the script and the creation process. The topic of elaboration contains the mixture of Kung-Fu and Hip Hop, the definition of love between opposite genders, and research into related references; to introduce the definition of Film Genres and the relevant genres of this film. There will be a comparison between blockbusters which have a huge event (competition or concert, etc.) as foreground storyline, like《Shaolin Soccer》(Honk Kong) and 《Bring It On》(the US); romantic comedy like 《How To Lose A Guy In Ten Days》(the US); 《Cape No.7》(Taiwan); martial art like 《Crouching Tiger, Hidden Dragon》(Taiwan), There will also be an analysis of the structure, context, ways of telling stories, theme, and the ideology of this script, the analysis of the characters, and the conclusion of the creator.

In the future the creator will continue aiming at the creation of “Good script with foreground storyline and strong subplots”, and keep working on film proposals, productions, and distributions.

並列關鍵字

Kung-Fu ； martial art ； competition ； Hip Hop ； romantic comedy ； film script

參考文獻

陳清河。1997。《少林洪拳》。台北：長洪武術推廣學會。

簡文吟，伊慶春。2004。〈共識與歧見：夫妻配對研究的重要性〉。國立台灣大學社會系所論文。

林浩立。2005。〈流行化、地方化與想像：臺灣嘻哈文化的形成〉。《人類與文化》第37期2005.9：7-28。

李安。2000。《臥虎藏龍》(Crouching Tiger, Hidden Dragon)。美國：哥倫比亞影業公司&台灣：縱橫影視國際公司。

參考文獻