魔鬼的自白－探討奪魂鋸系列中正義轉向與意義重構

恐怖電影中出現的反派（或稱加害者）正是破壞秩序、摧毀穩定世界的源頭，他們往往凌越了既有的社會規範而造成衝突，在主流意識型態的影響下，「英雄」文化便是驅離邪惡、非善類的主體以達到和諧與和平，使社會與秩序回歸到平整與穩定，《奪魂鋸》系列除了以暴力和血腥作為恐怖片反動的能力，亦將現代主義下人們統一、利己的冷漠做徹底的質疑和批判，枉顧社會既存的英雄主義模式，甚至反轉英雄與反派角色的善惡立場，企圖縫合兩者之間的意義鴻溝，這樣的敘事策略更在在棄絕了二元對立所預設的框架，英雄在此系列是不存在的，甚至甚少符合一般反派該有的被仇視感。在觀眾觀看的同時，灌輸後現代主義存有的對於絕對性的反動，因此觀眾對於拼圖（加害者）的情緒隨之受到影響，此系列剝奪了明確與分明的立場，卻給予觀眾自行決策善惡的權力。《奪魂鋸》系列文本對於自身存在是既想破壞、超越主流意識型態，卻又挾持著主流價值觀念的勳章在省視世界。而這也不可否認的是立基於原典的重新建構，從這思維出發，將一種更擴展的視野介入其中，更可以感受到意義從來不是可以輕易確立與設定原則的，但是其背後依舊脫離不了對於整體社會的關懷與揭示不平等的中心思想。

關鍵字

恐怖片；意識形態；社會化；意義

並列摘要

Appear in the horror film’s villain (or known assailant) is disruptive, destroying the source of stabilizing the world, the more they tend to Ling the existing social norms and cause conflict in the mainstream ideology under the influence, "Hero" culture will is expelled evil, non-good body of the class in order to achieve harmony and peace and order back to the community formation and stability, "Saw" series, in addition to the violent and bloody horror films as reactionary ability, people will be under Modernism unity, selfish indifference do a thorough questioning and criticism, ignore social heroism existing models, or even reverse heroes and villains allegiances, meaning an attempt to suture the gap between the two, so that even in the abandon narrative strategy never a dualistic framework presupposed, the hero in this series does not exist, and even seldom comply with the general sense of the villain of the others were hostile. In the audience watching the same time, there's postmodern indoctrination for absolute reactionary, so the audience for Jigsaw (perpetrators) followed by the emotional impact of this series of depriving a clear and distinct position, but to give the audience their own good decisions evil powers. "Saw" series of texts for their own existence is both want to destroy, beyond the mainstream ideology, but kidnapped the mainstream values of the medal in the call upon the world. And this is also undeniable that the legislature based on original texts to reconstruct, from thinking of starting a more expanded horizons will intervene, but can never feel the significance and settings can be easily established principles, but still can not escape from behind the care and society as a whole reveals the central idea of inequality.

並列關鍵字

Horror film ； Ideology ； Socialization ； Significance

參考文獻

in the Fiction Film）。

到《見鬼》之論述〉，《台灣社會研究季刊》，60：111-144。

郭宏昇、周平（2005）。〈華語恐怖電影的傳統觀與現世感─由《暫時停止呼吸》

李思穎（2007）。《台北地區青少年觀看恐怖電影之現況及相關因素之分析》。臺

Wells, P.（2000）. The Horror Genre : From Beelzebub to Blair Witch. London :

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魔鬼的自白－探討奪魂鋸系列中正義轉向與意義重構

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