少無可歸　數位寫實主義、流行歌曲與趙德胤的「歸鄉三部曲」

No Country for Young Men DV Realism, Popular Songs and Midi Z's ＂Homecoming Trilogy＂

王萬睿(Wan-jui Wang)

《中外文學》 46卷1期 (2017/03) Pp. 147-184

https://doi.org/10.6637/CWLQ.2017.46(1).147-184

摘要

緬甸出生的導演趙德胤，是一位受益於數位攝製技術提升後的台灣年輕影像創作者，以緬甸離散華人為主題，透過一臺非專業數位相機，相繼完成《歸來的人》（2011）、《窮人。榴蓮。麻藥。偷渡客》（2012）與《冰毒》（2014）三部長片，合稱為「歸鄉三部曲」。本文指出趙德胤的作品回應了列夫．曼諾維奇（Lev Manovich）所提出的「數位寫實主義」（DV Realism）美學，透過分析「歸鄉三部曲」流行歌曲調度與影像的音畫配置，討論他如何以簡約的紀錄片風格、長拍鏡頭和同步錄音，於電影中建構寫實且多音複調的音景，反映緬甸年輕華人跨境打工的流離困境。

關鍵字

數位寫實主義 ； 歸鄉三部曲 ； 趙德胤 ； 音景 ； 離散攝製

並列摘要

Since the turn of the new century, younger generations of Taiwanese filmmakers have begun to address directly the issue of migration and Chinese diaspora. As a Myanmar-born Taiwanese film director, Midi Z (Zhao Te-Yin) has produced his ＂Homecoming Trilogy,＂ namely, Return to Burma (2011), Poor Folk (2012), and Ice Poison (2014). Midi Z's digital filmmaking portrays the economic reform in Burma and cruelty of the lives of Burma-Chinese People by using the documentary style. Corresponding to the transnational geographical contexts of its setting and Midi Z's own multiple identities, the narrative appears to be intentionally wandering and convoluted. Moreover, Midi Z, who produces what I call ＂DV Realism,＂ purposely avoids nondiegetic music and other post-production tricks. This approach is assisted by Manovich's DV Realism to reformulate the way in which Midi Z's films present Chinese diaspora in northern Myanmar and demonstrate transnational realist aesthetics. The article contends that the use of popular songs in ＂Homecoming Trilogy＂ should be understood as aimed at constructing a realistic and polyphonic soundscape.

並列關鍵字

DV Realism ； Homecoming Trilogy ； Midi Z ； soundscape ； diasporic filmmaking

參考文獻

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