台灣客家電影之敍事與文化意涵研究

A Study on Narration and Cultural Implications Delivered from Hakka Films in Taiwan

李佩芝(Pei-Chih Lee)

指導教授 ： 劉照金 博士 ； 陳和賢 博士

國立屏東科技大學/人文暨社會科學院/客家文化產業研究所/碩士(2009年)

https://doi.org/10.6346/NPUST.2009.00153

摘要

本研究主要目的是在探討台灣客家電影所呈現的客家敍事與客家文化的意涵。研究方法是採敍事理論的文本分析，以《小城故事》、《原鄉人》、《在那河畔青草青》、《冬冬的假期》以及《童年往事》等五部客家電影為研究文本，其研究結果如下：
一、客家電影中有關客家敘事的呈現
五部客家電影故事內容主要敍述客家人遭遇困難、面臨逆境時，如何克服困難及解決問題，最後結果呈現都能迎刃而解、化險為夷的敍事。由客家電影故事敍述中，觀眾亦能透過主角解說，清楚了解影片所傳達的意境及主角深層的內心世界。《小城故事》中文雄提前假釋，到三義客家小城找木雕老師傅學習技藝，並與其啞巴女兒阿秀產生愛情的敍事，以一對父女為故事主軸，呈現父慈子孝、與世無爭的傳統客家家庭生活模式，片中有一段客家採茶大戲的呈現；《原鄉人》描述鍾理和一生經歷的傳記故事為敍事主軸，終其一生堅持寫作之路與愛情婚姻，並克服身體病魔考驗，留下客家文人之典範；《在那河畔青草青》描述來自台北客籍代課老師盧大年，到內灣國小教書的故事，並與小鎮學生熟識及女老師的戀情，影片呈現客家聚落鄉土之情；《冬冬的假期》從冬冬的敍述，瞭解客家小孩以自己眼光看待交錯複雜的成人世界，片中呈現客家聚落場景；《童年往事》由客家青年阿孝成長的過程，敍述客家家庭上一代長輩的原鄉情結及自己落地生根的故事。
二、客家電影所呈現的客家文化意涵
由上述五部客家電影的分析，其中所呈現客家文化義涵如下：
(一) 重視親情、生命價值及不忘本的客家社會：客家電影呈現客家社會的組織體系是「父當家，母持家」、「重男輕女」及「慎終追遠，敬老尊賢」之倫理觀念社會，而且「我群意識」概念相當的濃厚。
(二) 愛鄉土的客家庄文化：客家電影呈現客家人居住環境大都是山脈綿亙交通不便，耕地、糧食不足，形成封閉、保守、自給自足、相互合作、團結的客家庄文化，但無形中也影響與其他族群之間的互動。
(三) 刻苦與硬頸的精神：客家電影呈現客家人勤勉、刻苦、務實、耐勞…等美德，但也呈現客家人好動、勇猛、冒險、健身、頑強、固執、保守、權威、硬耿等文化特徵，這象徵著早期客家人流浪、遷徙、開墾等艱辛生活中磨練出的刻苦與硬頸精神。
(四) 重視傳統文化之形象：客家電影呈現客家採茶大戲、客家傳統木雕藝術、客家藍衫風情、客家建築、客家語言、伯公廟等傳統文化形象，這是客家族群特有的傳統藝術和信仰文化。
(五) 重視傳統的客家女性角色：客家電影呈現客家婦女所扮演的角色與功能，除傳宗接代及侍候公婆外，特別注重「家頭教尾」、「田頭地尾」、「灶頭鍋尾」及「針頭線尾」等四項婦工。
(六) 重視禮俗制度的婚姻關係：客家電影呈現客家人的婚姻禮俗制度，以「傳宗接代」為目的，並重視「門當戶對」、「明媒正娶」和「父母之命、媒妁之言」的客家傳統禮俗制度以及婚姻觀念。
綜合以上，本研究經由分析客家電影中的客家敍事和文化意涵，瞭解客家電影內容敍述的客家人在遭遇困難、面臨逆境時，克服及解決問題的過程，其結果呈現都能化險為夷的敍事，同時呈現客家人擁有重視親情和生命價值的社會體系、愛鄉土的客家庄文化、刻苦與硬頸的精神、重視傳統文化之形象、重視傳統的客家女性角色以及重視禮俗制度的婚姻關係。

關鍵字

客家 ； 客家電影 ； 客家敍事 ； 客家文化意涵

並列摘要

The main purpose of this study is to discuss Hakka narration and Hakka cultural implications exhibiting in Hakka films in Taiwan. Textual analysis based on narration theory was applied as the research methodology. Five Hakka films were “Story of a Small Town”, “My Native Land”, “The Green, Green Grass of Home”, “A Summer at Grandpa’s” and “A Time to Live, A Time to Die” are the text studied. The results are shown as follows:
1. Representation of Hakka Narration in Hakka Films
The plots presented in the five Hakka films were the narration in relating to Hakka people’s encounter with difficulties, how Hakka people overcame those difficulties and solve problems and how Hakka people eventually turned crisis into safety. The audience was able to clearly find out the meanings delivered by the films and the inner world of the protagonists through their explanations. In “the Story of a Small Town”, Wen Hsiung received an earlier release on parole and came to a woodcarving master for apprenticeship in Sanyi, a Hakka town. Later, he fell in love with the master’s mute daughter. In the film, the father and daughter were the core of the story. The plots presented a benevolent father, a child with filial piety, traditional pattern of Hakka family life aloof from the outer world. The great scene of Hakka tea-picking was displayed in the film. “My Native Land” exhibited the biography of Chung Li-He’s life. He stuck to his writing career, love and marriage. He also defeated the test brought by a disease. He was a model of Hakka literatus. “The Green, Green Grass of Home” described the story of Lu Ta-Nien, who was Hakka and served as a substitute teacher at Nei Wan Elementary School. In the film, he became familiar with the students in the small town and fell in love with another teacher. The film revealed human bonds in Hakka villages. “A Summer at Grandpa’s” delivered the portrait of a complicated adult world from a Hakka kid, Tung Tung’s perspective. In this film, Hakka villages were presented. “A time to live, a time to die” portrayed the hometown complex intertwined in the minds of older Hakka generations and the story of a Hakka youth A Hsiao’s settling down through his growing process.
2. Hakka Cultural Implications Exhibiting in Hakka Films
The Hakka cultural implications presented through the analysis on the above five Hakka films are as follows:
(1) A Hakka society which respects family love, value of life and origin: the social organizational system presented in Hakka films was the one with ethics, such as “Father is in charge of a home while Mother maintains it”, “patriarchy”, and “memorizing the dead and the ancestors and honor the aged and the wise”. In addition, the concept of “we group consciousness” deeply rooted.
(2) Hakka village culture with love for hometown: the living environment shown in Hakka films was often in the stretching mountains which were inconvenient in transportation, short of farm land and food. Such environment formed a closed, conservative, self-sufficient and united Hakka village culture. However, the interactions with other groups were also affected imperceptibly.
(3) Painstaking and unyielding spirit: Hakka films conveyed the Hakka’s virtues of being diligent, painstaking, industrious, practical, hardship enduring, etc. However, they also exhibited Hakka’s cultural characteristics of being active, brave, adventurous, healthy, tenacious, stubborn, conservative, authoritative, rigid, etc. These symbolized the painstaking and unyielding spirit of Hakkas trained from the hard lives during early drifting, moving and cultivation period.
(4) Respect traditional Hakka cultural image: Hakka films presented traditional cultural image, such as the great scene of tea-picking, traditional woodcarving, Hakka blue shirts, Hakka architecture, Hakka language, Pak Kung Temple, etc. These are the traditional arts and belief culture uniquely possessed by Hakkas.
(5) Respect traditional Hakka women: Hakka films delivered the roles and functions played and possessed by Hakka women. In addition to giving birth to children and taking care of parents-in-law, they especially paid attention to the four women’s works including “family education”, “farming”, “cooking” and “needlework”.
(6) Respect marital relationships with etiquettes: Hakka films presented Hakka etiquettes in relating to marriage. The purpose of marriage was “giving birth to children”. Hakkas also valued traditional Hakka etiquettes and marital concepts such as “families with equal standing”, “formal marriage”, “parents’ order and matchmakers’ introduction”, etc.
Based on the above, the research analyzes the Hakka narrations and cultural meanings through Hakka films to understand the contents of Hakka films descriptions that when Hakkas encounter difficulties and confront misfortunes, how they conquer and solve problems. The results present the narrations of turning peril into safety. At the same time, it also presents that Hakka social system appreciates family love, life values, topophilia, painstaking and tough spirits, traditional cultures, and Hakka females respect their traditions and marriage etiquette.

並列關鍵字

Hakka ； Hakka film ； Hakka narration ； Hakka cultural implications

參考文獻

鄭樹森（1984）。現象學與文學批評。台北：東大圖書。

Alexander, V. D. (2006). Sociology of the arts: Exploring fine and popular forms.

Bordwell, D. (1985/1999). Narration in the fiction film.

Bordwell, D., & Thompson, K. (2008/2008). Film art: An introduction, 8th ed.

Chatman, S. （1980）. Story and discourse： Narrative structure in fiction and film. New York: Cornell University Press.