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| 《藝術學研究》第十一期（JOURNAL OF ART STUDIES 11） |
| 林文淇 |
| 2012年12月 |
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目次
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序言
客座主編╱林文淇
學術論文
1 鄉村城市：侯孝賢與陳坤厚城市喜劇中的臺北
林文淇
51 《南國再見，南國》：另一波電影風格的開始
沈曉茵
89 City People: Youth and the Urban Experience in
Hou Hsiao-Hsien's Later Films
葉蓁
書評與研究書目
145 微觀電影史：評張靚蓓《凝望．時代：穿越
《悲情城市》二十年》
王萬睿
155 2000 年以後侯孝賢電影研究書目
中、英文資料整理╱曾炫淳；法文資料整理╱孫松榮
其他論文
177 尋找臺灣當代酷兒電影中《梁山伯與祝英台》
及「凌波熱」論述之遺緒
王君琦
Contents
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Preface
Guest Editor Wenchi Lin
Articles
1 City as Country: Taipei in Hou Hsiao-Hsien and
Chen Kun-Hou's Urban Comedies
Wenchi Lin
51 Goodbye South Goodbye: The Launch of a Fresh
Round of Stylistic Exploration
Shiao-Ying Shen
89 City People: Youth and the Urban Experience in
Hou Hsiao-Hsien's Later Films
June Yip
Book Review & Bibliography
145 Minor Historiography: Chang Jinn-Pei's Looking
Back through the Film A City of Sadness
Wan-Jui Wang
155 Bibliography of Critical Works on Hou
Hsiao-Hsien since 2000
Chinese and English bibiography by Hsuan-Chun Tseng;
French bibliography by Song-Yong Sing
Other Article
177 Eternal Love for Love Eterne: The Discourse and
Legacy of Love Eterne and the Lingbo Frenzy in
Contemporary Queer Films in Taiwan
Chun-Chi Wang |
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| 鄉村城市：侯孝賢與陳坤厚城市喜劇中的臺北 |
| City as Country: Taipei in Hou Hsiao-Hsien and Chen Kun-Hou's Urban Comedies |
| / 林文淇 Wenchi-Lin |
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| 關鍵字：侯孝賢、陳坤厚、城市喜劇、都市呈現、鄉村城市、 《我踏浪而來》、《就是溜溜的她》 Hou Hsiao-Hsien, Chen Kun-Hou, City comedy, Representation of the city, Rural city, Love on the Wave, Cute Girl |
| ◎ 點閱：56 ▼ 下載：0 |
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| 本文研究侯孝賢與陳坤厚的《我踏浪而來》、《天涼好個秋》、《就是溜溜的她》、《風兒踢踏踩》與《俏如彩蝶飛飛飛》這五部城市喜劇，指出侯孝賢與陳坤厚在刻畫臺北都市時，最主要的特色就是在片中大幅增加鄉村的場景。除了讓影片在視覺上增加賞心悅目的田園風光外，也讓男女主角的愛情多了天真爛漫的色彩。影片也將主要角色的個性配合喜劇類型加以單純化，並加上孩童角色，讓影片具有濃厚的鄉村氣息。基本上五部影片中的臺北顯得一片祥和，都市與鄉村之間不僅毫無隔閡，在本質上也是幾乎一致的「有機社群」。五部影片皆有輕快、抒情且歌詞中饒富鄉村符號（如大自然中的季節與風、雲、海等景物）的主題曲與插曲，來為影片的輕鬆愛情喜劇定調，並為都市加上一個原本不（能）存在的鄉村聯想。本文認為城與鄉在侯孝賢與陳坤厚的城市喜劇中並未有明顯的對立，只是臺灣不同的兩的地域空間。臺北在這些影片中雖然是大城市，同時也像是鄉村，可以被稱為一個電影中的「鄉村城市」。除了綜合概述五部影片對於臺北的呈現外，本文也針對陳坤厚的《我踏浪而來》與侯孝賢的《就是溜溜的她》兩部影片深入分析，進一步闡釋侯孝賢與陳坤厚分別執導的第一部影片，如何將臺北在銀幕上建構為一個「鄉村城市」。 |
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| This article studies five films by Hou Hsiao-hsien and Chen Kun-hou, Love on the Wave, Cute Girl, Spring in Autumn, Play While You Play, and Six Is Company, which are referred to as “City Comedy” by Hou. The most striking feature of these films' representation of Taipei is that they all include a great deal of country scenes, which not only provide idyllic landscapes on screen but also make the urban love relationships depicted in the films imbued with innocence and romanticism. The main characters are simplified for the comedy genre and children are added in the plots whenever it is possible so as to create a sense of the country. Taipei in these films is basically a city of harmony, and there seems to be no distance at all between the city and the country. It is as much an organic community as the country. Hou and Chen place many easy-listening songs about love in these films. The songs' lyrics contain many rural elements such as wind, cloud, mountain, and the sea to associate the city with the country. This article argues that the city comedy films of Hou and Chen do not depict the city and the country as binary oppositions. Taipei in these films is a city with many qualities normally associated with the country, which can be termed a “country city.” Besides discussing the five films in general, this article analyzes Chen's Love on the Wave and Hou's Cute Girl in detail to demonstrate how Taipei is represented as a “country city” in Hou and Chen's directorial debut films |
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| 《南國再見，南國》： 另一波電影風格的開始 |
| Goodbye South Goodbye: The Launch of a Fresh Round of Stylistic Exploration |
| / 沈曉茵 Shiao-Ying Shen |
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| 關鍵字：侯孝賢、《戀戀風塵》、《尼羅河女兒》、電影形式、視點鏡頭、景深 Hou Hsiao-Hsien, Dust in the Wind, Daughter of the Nile, film form, POV shots, depth of field |
| ◎ 點閱：45 ▼ 下載：48 |
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| 檔案下載：第11期-沈曉茵.pdf |
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| 此篇文章探討侯孝賢1996年的《南國再見，南國》，意圖論述此片是侯孝賢在電影形式上又一次的突破。《南國再見，南國》藉由形式上新的嘗試呈現了一個新舊交際、隱隱悸動的世紀末臺灣。《南國再見，南國》放鬆了侯孝賢過去景深的設計，做了淺平構圖的調度；進一步地，也實驗以顏色及音樂來界定視點，透過視點鏡頭來接近並進入角色，呈現一種立即、當下感，有別於侯孝賢之前懷舊及審思歷史的深沈感。論文藉由分析《南國再見，南國》裡的交通、角色、風格、家產，來導引出侯孝賢有別於過往的電影嘗試；同時也點示此片如何開啟侯孝賢下一階段的形式試驗。 |
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| This article studies Hou Hsiao-Hsien's 1996 Goodbye South Goodbye and argues that it presents a range of stylistic experimentation which launches Hou's aesthetic exploration through the next stage of his work. Goodbye South Goodbye shows an end-of-the-century Taiwan poised at a moment of transition in which the center of focus shifts from one generation to another. With Goodbye, Hou eases his former preferred complex staging in depth and moves toward complex staging on reflective surfaces. Moreover, Goodbye experiments with POV shots by defining them with color and music, which has the effect of bringing the spectator closer to the characters and evokes a sense of immediacy unlike the sense of nostalgia and historical weightiness in Hou's earlier work. These filmic techniques and effects are investigated through analyses of the modes of transportation, the characters, styles, and notions of home appearing in Goodbye South Goodbye. This paper concludes with a concise survey of the new stylistic presentations undertaken by the Hou films which followed Goodbye South Goodbye. |
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| City People: Youth and the Urban Experience in Hou Hsiao-Hsien's Later Films |
| City People: Youth and the Urban Experience in Hou Hsiao-Hsien's Later Films |
| / 葉蓁 June Yip |
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| 關鍵字： urban youth, postmodern metropolitan experience, historical awareness |
| ◎ 點閱：18 ▼ 下載：19 |
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| 檔案下載：第11期-June Yip.pdf |
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| While Hou Hsiao-Hsien has been celebrated primarily for his depictions of Taiwanese rural life, his films have also grappled with aspects of the urban experience, particularly in the latter part of his career. This paper examines metropolitan life in two of these more recent films, Millenium Mambo and Cafe Lumiere, with an eye towards drawing out continuities with Hou's own earlier films and with those of his contemporaries. The films form an interesting pair because each features a lonely young woman caught up in complicated personal relationships and struggling to find meaningful connections amidst the anonymity and confusion of urban life. While Mambo is set in Taipei and Cafe in Tokyo, both women travel between the two cities, underscoring at once the universality of the postmodern metropolitan experience and the specific historical connection between Taiwan and Japan. My analysis aims to focus on a number of areas: architecture and the alienating effects of urban spaces; the effect of technology on human relationships; the motif of travel and its emotional correlative—that restlessness that Raymond Williams identifies in “modern men and women who do not so much relate as pass each other and sometimes collide.” Finally, I hope to argue that, in both of these films, it is through historical awareness that the young urban-dwellers are able to find a sense of connectivity and purpose. It is this idea—that historical knowledge leads to redemption—that most strongly ties these later films to Hou's entire body of work. |
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| 尋找臺灣當代酷兒電影中《梁山伯與祝英台》 及「凌波熱」論述之遺緒 |
| Eternal Love for Love Eterne: The Discourse and Legacy of Love Eterne and the Lingbo Frenzy in Contemporary Queer Films in Taiwan |
| / 王君琦 Chun-Chi Wang |
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| 關鍵字： Love Eterne, Lingbo, Lingbo frenzy, female feminine masculinity, female homoeroticism, maternal imaginary, The Peony Pavilion, Love Me, If You Can |
| ◎ 點閱：43 ▼ 下載：42 |
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| 檔案下載：第11期-王君琦.pdf |
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| This paper examines the cultural meaning of Love Eterne (Liang Shanbo yu Zhu Yingtai, dir. Li Han-Xiang, 1963) from the perspective of queer history. I argue that the cross-influence of the cinematic representation of cross-dressing and extra-cinematic star discourse about the famous performer Lingbo (Ivy Ling Po) render her the epitome of female feminine masculinity, and her popularity among female fans, thus, can be read beyond a hetero-centric interpretation. Moreover, engaging with Taiwan's cultural history from the perspective of a queer-positioned reader provides a different understanding of the journalistic accounts of the highly emotional and affective star-fan interaction as a form of representation, illuminating a homoerotic subtext. Through the narrative tropes and motifs of cross-dressing, female singing, and most importantly, female feminine masculinity as an object of women's desire, two contemporary queer films—The Peony Pavilion (Wo de meili yu aichou, dir. Chen Kuo-Fu, 1995) and Love Me, If You Can (Feiyue qinghai, dir. Alice Wang, 2003)—exemplify the legacy of Love Eterne and the Lingbo frenzy in the representation of female homoeroticism. This establishment of a genealogical relationship between the discourse of Love Eterne and contemporary queer films is proposed as a supplement to enrich the scholarship that conceptualizes the representations of female homoeroticism in the Taiwanese cultural context. |
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