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題名 | 水色越南--「越南三部曲」與《戀戀三季》的詩/濕意閱讀=Flowing Vietnam: On Tran Anh Hung |
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作者 | 蔡林縉; | 書刊名 | 電影欣賞學刊 |
卷期 | 9:2=17 2013.07[民102.07] |
頁次 | 頁25-42 |
分類號 | 987.383 |
關鍵詞 | 越南電影現象學; 陳英雄; 裴東尼; 水; 詩意; Vietnamese cinema; Tran Anh Hung; Tony Bui; Water; Poetic phenomenology; |
語文 | 中文(Chinese) |
中文摘要 | 本文透過詩意現象學式的閱讀策略,來剖析以下幾部越南電影中「水」的影像配置:分別是陳英雄的「越南三部曲」(《青木瓜之味》,《三輪車伕》,《夏天的滋味》),以及裴東尼的《戀戀三季》,來探討水之形象在影像世界裡眾多面貌與其所帶給觀者想像的多重可能。越南就氣候上屬於濕熱地熱帶季風氣候,而雨季所帶來的可觀雨量更使得越南的風景水感十足,而陳英雄和裴東尼亦不約而同地將「水」的各色形貌呈現在他們的電影中。雖然,「水」並非上述電影中的主軸,然而,經過本文的論析,「水」不光只是場面調度裡的陪襯元素,而是在與影像裡不同元素的互動中演繹更多樣繁複的意義。因為「水」的精妙佈署,在影像世界各種符號間的碰撞運作之下創造出一種「液體性的電影語言」,並藉由這樣的「液體性語言」,發展出與越南的文化符號或歷史場景各種可能的連結,成就更多面豐富的越南影像。換言之,「水」的多元性不僅是塑造人物與情節的動能,同時是呈現越南社會和文化細節的媒介,更創生出一幅幅流轉生機,且「濕」意盎然的影像詩篇。 |
英文摘要 | This essay centers on the images of "water" in the following Vietnamese films: Tran Anh Hung's Vietnam Trilogy (The Scent of Green Papaya, Cyclo, and The Vertical Ray of The Sun) and Tony Bui's Three Seasons. Through a reading strategy of Poetic Phenomenology, my study analyzes that although water is somehow not the main subject in these films, it plays a pivotal part in them and is utilized to establish the directors' Signature Styles by Tran Anh Hung and Tony Bui. Therefore, the filmic transformations of water shouldn't be regarded merely as settings or scenery; it implies the changes of charactors and the development of narrative, serves as a leading position within mise-en-scene and creates diverse meanings in these films. To put it differently, only by scrutinizing the images of water in these films can we really understand the symbolic connotation in different scenes, realize the aesthetics of the directors, and most significantly, experience the fascinating images of Vietnam. In a nutshell, it is the multiplicity of water which fulfills the completeness of both characters and plots, propers cultural and societal details, colors Vietnam cinemas with savory flavors as well. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。