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| 不再無禮：克萊蒙‧維哥影片中的情感第三空間 |
| Rude No More: The Emotional Thirdspaces in Clement Virgo's Post-Rude Films |
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| 作者 |
劉紀雯 |
| Author |
Kate Liu |
| 關鍵詞 |
多倫多、
情感第三空間、
克萊蒙‧維哥、
情感片段、
情緒提示、
沾黏文化符號
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| Keywords |
Toronto,
Emotional Thirdspace,
Clement Virgo,
Emotional Segments,
Mood Cue and Sticky Cultural Signs
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| 摘要 |
本文討論克萊蒙‧維哥在《無禮》之後兩部以多倫多為背景的影片：《小布朗的星球》和《愛情降臨》，主張使其電影空間產生多元意義的主要因素正是電影經由敘述手法、情感片段、情緒提示(mood cue)與文化符號所傳達的情感成分。這些傳達情感的手法不但呈現角色的回憶、經驗和抉擇以讓觀者產生同情，而且也建構出角色的情感第三空間－他們所拒絕或建構的「家」。而這些經由敘述者、顏色、音樂等情緒提示和鋼琴、跳舞、甘蔗田等文化符號所貫串連結的情感第三空間不但得以跨越現實與想像、現在與過去，讓藝術想像豐富現實空間，讓現在的自我面對過去創傷，而且也提供觀影者多義的詮釋空間。 |
| Abstract |
This paper discusses two of the films by Clement Virgo after his famous but controversial Rude: The Planet of Junior Brown and Love Come Down. I argue that what makes the film meaningful is exactly the emotional elements conveyed through its narrative method, emotional segments, mood cue and sticky cultural signs. These emotional elements help convey the characters' memories, present their experiences and choices for the viewers to sympathize with. Moreover, they serve to construct the films' emotional third space: the “home” the characters reject and/or construct. Through the use of narrator, color, music, as well as cultural signs such as piano, dancing and sugarcane plantation, the emotional third spaces cross the boundaries between reality and imagination, present and past, allow the latter to enrich and/or explain the former, so that the characters can establish themselves again in these spaces, where the viewers also enjoy some hermeneutical freedom in interpreting the cultural signs.
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