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  • 學位論文

論張藝謀電影中的”東方想像”--- 一個文化全球化的觀點

An Analysis of “Eastern Imagination "in Yi-Mao Chang" s Films: A Viewpoint of Cultural Globalization

指導教授 : 吳怡國

摘要


自九○年代中以來,文化全球化成了國際傳播和其他傳播研究領域的熱門焦點,而電影在眾多的傳播媒體而言更是偏屬高度文化的產業,因此,當在探討電影在文化全球化下所帶來的正、負面效應時,近年來在國際影展中大放異彩的華語電影則是最值得探討的案例,其中,中國電影更是東方色彩這個代名詞最佳的研究對象,因為它不僅在好萊塢效應的影響下成功銷售全球,更進一步影響觀眾對東方世界的定義,影響力之大不容忽視。而中國電影在人文以及技術上並未落後世界其他國家太多,但是在缺乏世界觀以及不熟悉西方電影工業運作的情況下,使得在這之前的中國電影乏人問津。改變這一狀況的人正是第五代導演---張藝謀。由攝影起家的張藝謀,以其著稱的影像風格一振中國委靡的電影環境,在這二十多年與電影相關的藝術生涯中,參與攝影、演出及導演的電影作品繁多,自一九八七年迄今,導演電影作品共有十三部,但為符合本研究之研究範圍(即以外資進入影響之前後期比較),僅於張藝謀導演作品中選取七部符合以上標準的電影作品作為分析文本,包含前期作品:《紅高粱》、《菊豆》、《大紅燈籠高高掛》、《秋菊打官司》以及外資進入後的《英雄》《十面埋伏》《滿城盡帶黃金甲》…等,在文化全球化及東方主義與後殖民主義的影響,以及文化全球化下不可避免的文化移轉等現象面之下,進行深度的電影語言及意識形態的分析,並具此作為後續分析之基礎依據,循線自中國電影研究中探討”東方想像“””有無存續及其 所營造出的想像空間。 本文運用電影分析中多使用的外在形式內容與內在的意識形態二個層面,來分析張藝謀票房保證之導演作品,除依循上述層面分析文本中有無東方想像元素的存在,更進一步歸納其中有無階段性的轉變或持續形成、自成一格,屬於張藝謀的當代”東方想像”。研究發現,從對中國的奇觀展現,到對中國內部市場化進程的觀察,再到“中國性”轉變為一種“全球性”的形式,張藝謀都顯示了他的影響和侷限。他作為中國電影象徵的神化形象,簡化了中國電影文化的複雜性和中國想像的複雜性。而這種想像又是被全球化和市場的文化邏輯所支配的。這種簡化的表現與當下的中國的狀態之間的脫節恰恰是張藝謀的特點。雖然張藝謀認為自《英雄》開始就是想讓中國電影成為全球享譽的國際性電影,在創作上絲毫沒有受到外資進入的影響,但在文化全球化的包裹之中,全球政治經濟的整體情勢實然與電影的創作乃至於選角有著密不可分的關係,即便張藝謀自白於創作理念的清清楚楚,在作品分析中卻也流露出與西方期待的異國情調腳本相互接軌的痕跡。 因此,無論是”當代東方想像”、”西方視域下的東方想像”或是”東方視域中的東方想像”,仍然無法掙脫西方霸權的禁錮與迷思,但此三者之間的相互關連性也絕不可斷然切分,它們猶如密不可分的動態角力場域,在文化全球化的範疇之內,”西方視域下的東方想像”(影響中國的強勢西方文化)與”東方視域中的東方想像”(影響當代東方想像的深厚傳統文化)不但更自擁著中西各不同卻極端強大的背景文化相互影響彼此,更深深影響著”當代東方想像”的自我型構,這樣的塑型不但試圖在傳統與當代文化之間扮演文化尋根與重塑民族形象的重新定位,更必須融合西方強勢好萊塢文化的策略性,在世界影壇中走出兼具東方傳統文化的深耕與堅持的”東方想像”。

並列摘要


From 1990's on, cultural globalization has been a widely discussed topic in communication research field. Among the communication media, movie is evidently a highly-developed culture industry. Therefore, when we examine the positive and negative perspectives of the movies in relation to cultural globalization, the Chinese movies which won a lot of prizes in many international film festivals in recent years certainly require our attention. The movies produced by China are the most suitable research subject regarding the eastern culture not only because they are popular around the world under heavy influence of the Hollywood but also they affect the audience’s perception toward their own world. The techniques of Chinese movies are not far behind comparing to other countries. The reasons that previous Chinese movies were not taken seriously might result from their lack of world view and unfamiliarity to the western movies industry. Yi-Mao Chang is the first person who changes the situation. From 1987, Yi-Mao Chang directed 13 movies and only 7 movies are sampled for this research scope. The 7 movies include the early periods movies: the Red Sorghum, Ju-Dou, Raise the Red Lantern, the story of Qiu Ju, and the movies which invested by foreign company: Hero, House Flying Daggers, and Curse of the Flower. Within the structure of cultural globalization, orientalism and postcolonialism, the movie languages and ideologies are analyzed, which then used as a base for further exploration into the world and context of the Eastern imagination in Chang’s movies. Formats of movie analysis and ideology are applied to analyze the selected movies that directed by Yi-Mao Chang. Other than what we’ve discussed above, this research tries to find out what are the elements of Eastern imagination in his movies. This research also wants to know if Chang’s modern Eastern imagination can be generalized into a progressing development if there is. Chang shows his influence and bridle for a progress that contains the conception of China, a kind of observation for the inner marketing in China and the changing for “Chinese” to “globalization”. To be a symbol of Chinese-movie, he simplifies the complication of both Chinese movie culture and Chinese imagination; therefore, the imagination is dominated by globalization and marketing logic. What we’ve mentioned, no matter the reduction or the status that is disconnected with China now, are Chang’s characteristics. Although Chang wanted to make “Hero” be a great movie in the world and considered the overseas capital didn’t affect him or his work, the political and economic contexts inevitably play important factors in the casting and script ideas of his movie. In spite of Chang’s confession that his creation has been very indigenous and original, clearly there are still a lot of exotic elements catering to the Western world in his movies. To sum up, no matter “the modern Eastern imagination”, “the Eastern imagination under the Western viewpoint”, or “Eastern imagination under the Eastern viewpoint”, none of the above can free itself from the Western hegemony. And they can’t disconnect with each other. They are within a nexus with one another within the range of globalization culture. Be it the Eastern imagination under the Western viewpoint (the strong influence for China) or the Eastern imagination under the Eastern viewpoint (the strong culture background for modern Eastern imagination), each has its different and deep cultural backgrounds to hold up each other, which further influence self-construction of “modern Eastern imagination”. In order to hold a presence in the world movie industry, efforts are needed to reposition itself with a balanced fusion of strong indigenous Chinese traditions and Hollywood capitals.

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