(115)
|
| 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 |
 |
| 作者 |
林文淇 |
| Author |
Wenchi-Lin |
| 關鍵詞 |
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》
|
| Keywords |
Hou Hsiao-Hsien,
Chen Kun-Hou,
City comedy,
Representation of the city,
Rural city,
Love on the Wave,
Cute Girl
|
| 摘要 |
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」。 |
| Abstract |
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. |
|
|
|
