| Abstract: | 本計畫主要研究在「全球化」情境下，華人導演如何藉由影像發聲。全球化某方面說來似乎讓華人的聲音瘖啞，但華人也可能藉由影像建立華人化的全球化。
本計畫將以楊德昌，王家衛，侯孝賢，蔡明亮、張藝謀、李安，以及幾部大陸的影片為研究焦點。這些導演與影片，都是國際影展的得獎者。本計畫將研究得獎以及在國外發行影片，與「全球化」的弔詭關係。
計劃將分四個部份進行。第一部份以大陸「草房子」、「洗澡」、「那山那人那狗」等影片，討論在這些表象「傳統敘述」的影片中，所隱藏的現在甚至是後現代敘述。第二部份將討論侯孝賢與蔡明亮一些影片中，學術界與一般觀眾在接受與認知上的差距下，延伸出「誰是觀眾」的問題。本計畫嘗試藉由閱讀美學與閱讀體驗提出「第三種觀眾」，有別於好萊塢設想的觀眾，也有別於以文化理論主導電影觀賞的學者。本計劃的第三部份將以楊德昌與王家衛的電影，討論影像意義的流動性與不確定性。第四部份將討論張藝謀與李安的作品，在商業化的遮掩下，展現電影藝術。事實上，兩人仍有差別，張藝謀的《英雄》比較向商業傾斜，而李安的《色，戒》與《臥虎藏龍》卻在市場的高度接受下，隱藏「沈默美學」，以偽裝的商業化製作，製造商業化的縫隙。
本計劃的立場是：面對全球化，電影必然要面對文化的課題，因為其中的製作、行銷必然牽涉到身份認同與跨國界、跨文化的現象。但是電影也是藝術品，影像閱讀的焦點是美學的經驗。因此，電影閱讀應該先專注於影像文本的豐富性與感動力，再進而論及其文化功能，而不是以（本土）文化理論作為電影成就唯一的標竿。
This project will study how the Chinese directors announce their voices against the context of globalization. On the one hand, the globalization seems to muffle their voice; on the other hand, they also try to articulate a Chinese way of globalization.
This project will focus mainly on works of Yang Te-ch’an,Wang Chia-wei, Hou Hsiao-hsien, Tsai Ming-liagn, Chang I-mou, Ang Lee and a few movies produced in Mainland China. All of these directors and the movies mentioned above garnered reputation from various international film awards, and therefore seem to be justified as built-up connections with the globalization concept.
There are four main parts to be expounded in my study. First, with movies like Thatched Memories, Shower, Postman in the Mountain and a few others shot in Mainland China, cinematic images presented in a seemingly “traditional ways”in fact smack of narratives of a modern or even postmodern aura. Second, in a few movies by Hou Hiao-hsien and Tasi Ming-liang, reactions to these works from some scholars and “general audience”find themselves in sharp opposition. Therefore, the topic “what is the real audience?”becomes a significant issue and hence “the third-kind audience”emerges as an important entity as an outcome of this study, whose viewpoints differ from either the typical Hollywood-assumed audience or some academic scholars that have strong propensity to view movies in cultural frameworks.
Third, the project will point out how the floating signifier and the flowing meaning in Yang Te-ch’ang’s andWang Chia-wei’s images construct their cinematic worlds. Fourth, the project will study how Chang I-mou and Ang Lee have produced works of art under the commercial masks. In closer comparison, one finds works like Hero of Chang I-mou incline towards the commercial banner while “the third-kind audience”will treasure the quality of “aesthetics of silence”in Ang Lee’s movies like Crouching Tiger, Hidden Dragon.
The position of this project is: against the globalization the viewing and interpretation of movies have to be appropriated in a cultural context because the production and showing of movies unavoidably involve the questions of identity, transnationality and multiculturalism. But a good movie is also a work of art; the audience also should pay attention to its artistic factors and aesthetic effects in the cinematic text. Neither can the transplantation of cultural theories into the film override the importance of the density and its moving power of a cinematic text; nor can cultural theories be standardized as yardsticks to evaluate the achievement of a movie. Moreover, a work of art is strictly related to how it is presented. Amovie with obvious intention of a proclaimed cultural issue is often an emblem of “bad movie.” |
