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| 看見寫實、聽見浪漫──李行導演電影歌曲析論 |
| Popular Songs in Realistic films: A Study On Director Lee Hsing’s Melodious Film Songs |
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| 作者 |
沈冬 |
| Author |
Shen Tung |
| 關鍵詞 |
李行、
電影音樂、
電影歌曲、
流行歌曲、
唱片
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| Keywords |
Lee Hsing,
Film Score,
Film Songs,
Mandarin Popular Songs (Mandopop),
Vinyl LPs
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| 摘要 |
李行（1930-）是臺灣電影史上最重要的導演之一，他一生拍了52部電影（包括兩部紀錄片），每一次的戲路改變都帶動了新的電影浪潮，可說20世紀後半葉臺灣電影的主要領航者。迄今有關李行導演的研究中，電影音樂是較少被論及的層面，本文因而以李行電影歌曲為主，音樂為輔，撰寫本文。
李行的電影歌曲不下100首，從來未被完整梳理，其中如〈小城故事〉、〈早安臺北〉、〈風從那裡來〉、〈海鷗飛處〉、〈原鄉人〉、〈心有千千結〉、〈海韻〉等，均是廣泛流行於華人世界，膾炙人口的名曲。本文透過大量的訪談及一手資料，爬梳李行現存電影歌曲，指出以《情人的眼淚》（1969）、《群星會》（1970）兩部電影作為里程碑，此前的電影歌曲較少，此後李行有意識地開始在電影裡使用歌曲。本文指出，李導演一直以「寫實主義」自我期許，在他開始運用歌曲以後，往往在以寫實為主的敘事主線之外，另外建構一條呈現歌舞的音樂副線，音樂副線又有虛實之別，與敘事主線交錯進行，手法猶如「看見寫實，聽見流行」。本文也發現，由於電影歌曲廣受歡迎，此時的電影產業與唱片工業密切結合，歌曲與電影相傍行銷，相輔相成，共同締造了一段國片及流行歌曲的燦爛時代。 |
| Abstract |
Lee Hsing (1930- ) is one of the most prominent directors in the history of Taiwanese cinema. He has made 52 films (including two documentaries) in his filmography. Each change of direction he made has brought about a new wave of cinema, which makes him one of the major pioneers of Taiwanese cinema in the second half of the 20th century. However, among published literature focusing on Director Lee, the music in his films has rarely been discussed. This paper mainly focuses on Director Lee's film songs, with music as a supplement.
There are more than a hundred film songs in Lee's film, but they have never been fully investigated. The songs, such as “The Story of a Small Town” (小城故事), “Good Morning, Taipei” (早安臺北), “Love Is An Elusive Wind” (風從那裡來), “Where the Seagull Flies” (海鷗飛處), “My Native Land” (原鄉人), “The Heart with a Million Knots” (心有千千結), and “Rhythm of the Wave”(海韻) gained great popularity in Chinese diaspora. Through a wealth of interviews and primary sources, this paper explores Lee's existing film songs, it points out that after the landmark films “The Melody of Love” (《情人的眼淚》, 1969) and “Stardust” (《群星會》, 1970), Lee began to deploy songs intentionally in his films, whereas the previous films had fewer songs. It also indicates that although Director Lee has always considered himself to be a realist, after he began to deploy songs, a musical sub-line of songs and dances would often be constructed alongside the main narrative line of realism. The musical sub-line can also be distinguished from the real and the virtue, interlacing with the main narrative line in a way of 'popular songs in realistic films'. The paper also identifies that the popularity of the film songs led to a close integration between the film industry and the recording industry, with songs and films being marketed alongside each other and complementing each other, which created a glorious era of films and popular songs. |
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