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第 14  期


King Hu and the Shaw Brothers' “New” Style Martial Arts Films of the 1950s: A Bricoleur in the Film Studios
作者 黃猷欽
Author Yu-chin, Huang
關鍵詞 隨創者胡金銓邵氏片場武俠電影電影美術設計
Keywords bricoleur, Shaw Brothers Studio, King Hu, martial arts film, production design
摘要 香港邵氏電影公司在1965年推展新派武俠片,當時致力革新此一片種的主要導演有徐增宏、張徹與胡金銓。其中號稱武俠片宗師的張徹,畢生幾以邵氏片場為拍片基地;而胡金銓在拍攝完《大醉俠》(1965)之後,便赴臺加入聯邦電影公司製作《龍門客棧》(1967),該片之完成係仰賴外搭景和臨時攝影棚,並未使用新建成之大湳片場。
Abstract In 1965, Shaw Brothers (Hong Kong) Ltd. initiated a new style of martial arts films which revolutionized the genre. Directors such as Xu Zenghong, Zhang Che, and King Hu were the leading contributors that developed this emerging film genre. Zhang Che, the so-called old master of the martial arts movie, became well-known for his long and productive career producing films with the Shaw Brothers. On the other hand, King Hu seemed unenthusiastic about making movies in any established film studio. After his success with Come Drink with Me (1965), Hu left Hong Kong for Taiwan's Union Film and directed Dragon Gate Inn (1967). However, instead of filming in the newly-built Danang Studio, Taoyuan, Hu shot most of the scenes in outside set constructions and temporary studios.
This paper examines the very different approaches to production designs in 1960s martial arts films by King Hu and the Shaw Brothers Studio. First, unlike the purpose-built Shaw Brothers Studios which used props and sets as expendable and disposable objects, Hu adopted a “free-play” approach that appropriated the original meanings and intended usage of these same studio props. Second, there existed a seeming distinction between Hu's bricoleurs laying booby traps and the Shaw Studios' engineers constructing various kinds of mantraps. Hu's concept of bricolage can thus be deemed as subversive practices in opposition to the dazzling mass-produced, yet homogeneous death traps by Shaw Studios. Furthermore, this research suggests that Hu's resistance to the globalizing film industry was parallel to his lifelong concern for ordinary people's arts and everyday culture as well as to his revulsion against totalitarian power in contemporary Chinese politics.
/ 楊小華    Hsiao-Hua Yang
/ 盛鎧    Kai Sheng
/ 洪敏秀    Min-Hsiou Hung
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