論侯孝賢電影中的抒情、隱喻與寫實

本論文研究對象是新電影最具代表性的人物侯孝賢，其電影的形式與內容有著既寫實又抒情的特徵。寫實的客觀傾向，抒情的主觀傾向，這兩種風格的並存成為本論文重要的問題意識，也就是侯孝賢如何將這兩種似乎是相異的風格交融於電影之中。寫實主義將藝術形式加以隱藏，讓觀眾較不注意其中藝術形式的調度，而提問侯孝賢如何調和這兩種藝術形式，其實也顯現出侯孝賢在寫實層面上操作的成功。此外，大體上屬「敘述」類型的電影，基本上與寫實同樣是在換喻軸上運作，而敘述作為一種類型，在侯孝賢調和寫實與抒情下，於是也就形成侯孝賢「抒情寫實」/「抒情敘述」的電影風格。　　本論文借重高友工在抒情傳統上的形式理論，並搭配雅各布森的語言學理論，以抒情與寫實卅敘述、隱喻和轉喻等概念來探討侯孝賢的電影風格。並以「抒情主體」和「隱喻形式」這兩個概念來探討侯孝賢電影中的時空問題。對於這兩個概念，我們以抒情傳統中古典詩常出現的今昔並置時空形式為例，今昔時空的並置效果是從歷時性轉換到共時性的時空結構，基於這種時空結構已成古典詩的典範形式，因而此形式並不特定指向某個作者，它指向的是具普遍性的抒情主體，此抒情主體顯現的共時性抒情經驗同時指向今與昔，甚至未來也使用或經驗此時空形式的作者與讀者。因而本文所使用的「抒情主體」與「隱喻形式」在某些時候是具有關聯性的──亦「隱喻形式」中存有「抒情主體」。本論文即試圖以這兩個概念來開始侯孝賢電影中的時空問題。　　而本論文的研究範圍從侯孝賢1983年的轉型期電影《風櫃來的人》到2007年的《紅氣球》，但基於研究內容集中於現當代時空的現實議題，故改編自清末韓邦慶《海上花列傳》的電影《海上花》則未在討論範圍中。

關鍵字

抒情；寫實；敘述；隱喻；轉喻；抒情主體；隱喻形式；時空

並列摘要

Subject of the thesis is the most representative figure of new age films, Director Hou Hsiao-hsien, whose movie forms and contents contain both realistic and lyrical features. Coexistence of both styles of objective tendencies of realism and subjective tendencies of lyricalness is the critical issue of awareness in the thesis; that is to say, debates on how Hou integrates the two styles that are almost completely different into his films are the aims of the thesis. Artificial forms are usually hidden in realism, so that the audience pays less attention to how such forms are distributed; still, how Hou manages to balance both artificial forms happened to reveal the manipulating success of him in realistic levels. Additionally, due to most movies in the “narrative” genre basically share the axis of metonymy with realism when it comes to executing, Hou manages to use narration as a form of movie whilst balancing realism and lyricalness, so that his style of “lyrical realism” or “lyrical narration” is developed. 　　Not only are formal theories of lyrical traditions by Yogong Gao, but also is the linguistic theory of Jacobson adopted in the thesis, so that to move styles of Hou are to be discussed using concepts like lyricalness versus realism or narration, metaphors, and the metonymy. Moreover, both concepts of “lyrical subjects” and “metaphorical forms” are adopted for discussions over issues of time and space in Hou’s movies; as for these two concepts, forms of juxtaposition of past and present for time and space that are often shown in classical poetry in lyrical traditions are taken as an example. To be more specific, the effect of time and space juxtaposition is actually a structure transferred from diachronic to synchronic manners of time and space; because same structure has become a form model in classical poetry, the term “forms” herein does not refer to any specific author, but a more universal lyrical subject, which reveals synchronically lyrical experience that refers to both past and present, or even the future, if any author or reader adopted or experienced such a form of time and space. That is to say, “lyrical subjects” and “metaphorical forms” adopted in the thesis are relevant in certain degree; it also means that “lyrical subject” exists in “metaphorical forms”. The two concepts are thus adopted with attempts to solve issues of time and space in Hou’s films. 　　On the other hand, the research scope of the thesis is set between The Boys from Fengkuei in 1983, a transition film directed by Hou, and Flight of the Red Balloon in 2007. However, as contents of same research fall upon realistic issues of modern time and space, Flowers of Shanghai, a film based on the story The Sing-song Girls of Shanghai written by Bangqing Han at the end of Qing Dynasty, is thus excluded.