西西是極具代表性的二戰後香港作家。過去,研究者多以西西經典之作《我城》為界,把她一九六零年代的小說創作劃入存在主義時期。相關研究悉數以作家接觸的存在主義書刊為參考。存在主義是二十世紀影響深廣的哲學思潮,對一九五零、六零年代全球青年文化、社會發展影響甚大,傳播方式實不限於書刊文化。西西是香港一九六零年代著名的青年影評人。當時,她接觸的歐美電影不少都觸及與存在主義相關的命題。本文以電影與文學關係為角度,重探西西〈象是笨蛋〉複雜的存在主義思想來源和表現。論文提出,小說轉化了二戰後法國「寫實」主義的電影主題及技巧,以兼及反省及同情的角度,回應當時本地愈趨偏狹的存在主義潮流,與青年文化對話。論文旨在重探西西的「存在主義」小說特色,亦借這位極具代表性的香港作家多元轉化歐美存在主義思潮的方式,提出以視覺文化為角度,考察二戰後香港以至其他非西方地區接收存在主義思潮方式的重要性。
Xi Xi is a representative post-World War II Hong Kong writer. In the past, researchers often took her classic "My City" as boundary, to periodize the 1960s as her existentialist period. These studies mostly based on the readings that writers have contacted as references. Existentialism is an influential philosophical trend in the 20th century. It had a great influence on the youth culture and social development in the 1950s and 1960s globally. Such ideological spread is not limited to printing cultures. Xi Xi was a famous young film critic in Hong Kong in the 1960s. At that time, she watched many European and American films that concerns existentialism. This paper takes the relationship between film and literature as perspective, to re-explore the source and adaptation of Xi Xi's complex existentialism in her works. It proposes her short story 'Xiang as an Idiot' has transformed themes and techniques of the French 'realism' movie trend after the World War II, in order to examine existentialism on a dualistic level. The work shows both the writer's reflection and sympathy towards existentialism, when responding to the increasingly narrowing existentialist trend meanwhile, and to talk it over with the youth culture locally. This paper aims not only to re-explore the characteristics of Xi Xi's "existentialist" novels, but also takes such representative Hong Kong writer as example, to suggest that taking a visual cultural perspective is of vital importance, when examining the perception and adaptation of the wide spread of existentialism in Hong Kong or other non-Western regions after World War II.
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