說故事的人：《2046》中的形式美學

Walter Benjamin 於1936 年論述( 講故事的人〉一文中，多次宣稱「講故事的藝術行將消失」，然而他談的是小說中的故事。王家衛多部電影慣用劇中人物扮演「講故事的人」，作為整部影片穿針引線的論述主體，不論是過去的《阿飛正傳》、《重慶森林》、《花樣年華》、《我的藍莓夜》等等，到2013年的《一代宗師》，角色的旁白引動整體敘事流的結構、並給予情節重要的線索，旁白、對白、音樂、音效等聲音反覆流串在敘事活動中，形成了話語的蒙太奇。《2046》(2004)一片就是以絮絮切切的口白開場，段落情節層層疊疊出現主角的敘說，像是交代故事時空背景、敘事發展的旁白，又像是故事主人翁第一人稱的心情獨自、或為事件或人物下的註腳。本月從影片揭幕者Tak的引言到貫穿全戲主要人物周慕雲的口白， Tak作為周慕雲筆下人物的自我投射，雖說敘說者是二位不同的發音( enonciation )主體，但在其敘事之中卻具有混同的意涵。本文則期聚焦在影片中「講故事的人」身上，試圖分析《2046》中敘事者是如何說故事、說甚麼故事，這位在Gerard Genette 所謂的「敘事主體」與其敘事的內容之間有何關條，敘說人是如何引動敘事流的活動，並探究其形式美學的後現代性。

關鍵字

2046 ；講故事的人；旁白；敘事；後現代性

並列摘要

In 'The Storyteller,' 1936, Walter Benjamin wrote several times that ＂the art of storytelling is reaching its end.＂ What he claimed was about novels in that time. Nowadays, most of Wong Kar-Wai's films used characters as storytellers to lead and motivate the continuity of the plots. Those characters could be analyzed as narrative subjects in those films. Starting from Days of Being Wild, Chungking Express, In the Mood for Love, My Blueberry Nights , to the most recent film , The Grandmasters (2013), Wong's films usually used voice-over as a leading role to provide significant plots and develop stories. In 2046 (2004), the movie started a sequence of words from Tak's voice-over. In fact , Tak was the self-reflection of Chou, Mu-Yun (the leading character) in his written novel. From Tak's preface to Chou's long lines, voice-overs ran through the whole plots with dialogues, music, and sound effects. Though Tak and Chou were seemed as two different enunciation subjects, they merged as the same one in narration flows. This article focuses on the storyteller in 2046 and attempts to analyze how the narrator told the story and what stories were told. Moreover, how this Gerard Genette 's so-called ＂the narrative subject＂ plays his role in this particular film , how he is related to the narrative, and how the narrator triggers the continuous events would be discussed. In addition, the form esthetic of postmodernity is also elaborated.