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題 名 | 王家衛電影中的南方轉向=Southern Orientations in Wong Kar-wai's Movies |
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作 者 | 伍軒宏; | 書刊名 | 中外文學 |
卷 期 | 46:1=456 2017.03[民106.03] |
頁 次 | 頁9-44 |
分類號 | 987.9281 |
關鍵詞 | 王家衛; 南方; 南方論述; 香港電影; 華語電影; Wong Kar-wai; The South; Hong Kong cinema; Chinese-Language cinema; |
語 文 | 中文(Chinese) |
中文摘要 | 本論文以王家衛電影中的「南方」符號或指涉為核心,討論他的十部長片如何以「南方轉向」作為敘事策略,透過方向的改變牽引故事、人物的轉向,以及意義的指向。在不同作品中,不同指涉「南方」的地點代表了不同的價值,施展不同的作用,王家衛因「片」制宜,建構不同的意義。本論文分五個部分,討論「南方轉向」:1.《阿飛正傳》等六部王家衛作品中,南方轉向的移位明顯,南方符號扮演重要轉折的樞紐,本文稱之為「南方支點」系列,並詳細分析此六部電影的轉向意義;2.《旺角卡門》等四部王家衛作品中的南方指涉比較隱晦,本文稱之為「南方隱喻」系列,並詮釋它們的暗示;3. 本文第三部分運用有限篇幅耙梳文學與文化理論中的「南方論述」,並將之與王家衛電影的南方傾向,做出連結,希望透過比較與對照,幫助理解電影中的「南方轉向」;4. 第四部分說明「轉向的意義,意義的轉向」;5. 最後,以討論王家衛「再度南方」的策略作為結語 |
英文摘要 | This article aims to investigate the strategy of "southern orientations" deployed in Wong Kar-wai's feature films, up to The Grandmaster of 2013. Generally a "turn" to the south, in the form of displacement to a southern location in cinematic spatial arrangements, is invoked when Wong's movie needs a resolution to the dilemma posed to his protagonists. For the purpose of analysis, Wong's movies are divided into two groups in terms of the question of the south: those in which the turn to the south or southern orientation is prominent and plays a crucial role in the trajectory of the story, as in Days of Being Wild and 5 others, and those in which the turn to the south is less outstanding or even negligible, as in Chungking Express and 3 others. In the first group, the turn to the south serves as a pivot, while in the second group, it works metaphorically and tangentially. The article proceeds to explore the different significance, values, and effects of different "southern orientations" in Wong Kar-wai's movies in the context of a general discussion of the meaning of the south as well as the strategy of the "turn," in relation to the particular deployment in each of his movies |
本系統中英文摘要資訊取自各篇刊載內容。