內部劃界：：從孟加拉分裂和後分裂過程閱讀薩蒂亞吉特•雷伊的電影

Abstract

本論文將追溯1947年孟加拉分裂的過程如何影響薩蒂亞吉特．雷伊的電影，尤其是他的電影如何挑戰孟加拉地區的宗教信仰與宗教信條。透過調查西孟加拉地區－－特別是加爾各答地區－－在分裂後的情況，本論文討論薩蒂亞吉特．雷伊的電影如何嚴肅地描繪出對難民的問題，包括難民婦女問題，語言問題，以及社會之間的衝突。 隨著西方教育的出現，十九世紀孟加拉被稱為孟加拉的文藝復興時期，是社會、宗教以及文學覺醒的黃金時代。但是，僅僅半個世紀，1947年的孟加拉地區經歷了一場重大的社會暴行，造成了此地區最終分裂為兩個地區，分別是東邊的穆斯林區域與西邊的印度教區域。多年來，薩蒂亞吉特．雷伊在他的電影中持續處理孟加拉分裂的大多數議題，卻常常被學者技術上的忽略。電影學者多半熟知薩蒂亞吉特．雷伊的電影觀點，但是在具體的研究上上仍然有所不足，更沒有人從孟加拉分裂對於社會破壞性影響的角度來探究他的電影。 本論文主要想透過考究孟加拉地區在1947年發生的事件，以及此事件的後續發展，以便深入分析薩蒂亞吉特．雷伊的電影。本論文將描繪出他的電影中的兩種明顯類型的主題：第一種類型的主題將環繞著薩蒂亞吉特．雷伊對於宗教正統的批判，諸如迷信、盲目信仰、種姓制度以及僵化的社會主義；第二類型的主題則將探討在西孟加拉社會的災難，包含日趨沈淪的社會經濟以及失控的難民危機。 本論文主要目的是探討薩蒂亞吉特．雷伊的電影如何有力地說出了令人悲傷的分裂事件以及漫長而煎熬的後續過程。這些歷史過程以及當前仍舊可以觀察得到的社會內部分裂，深深影響了薩蒂亞吉特．雷伊這樣的一位大師，而他藉由電影的語言長期表達了他的不滿和悲痛。本論文將探討這位導演如何思考社會主義和宗教狂熱，比方脆弱的迷信還有種姓制度？如何闡述他對自己的城市在分裂後的惡質化所進行的反省？如何觀察社會對移民婦女的剝削，並探討她們如何可以獲得解放？如何以孤兒或是第二代難民作為他電影中的主要角色？本論文將探討促使薩蒂亞吉特．雷伊長期進行電影創作的上述種種議題，以及其背後的歷史與社會基礎。

The thesis explores issues related to 1947’s Bengali partition which influenced Satyajit Ray’s cinema, particularly the films that challenged the religious dogmas of the Bengali society which were presumably some of the predominant reasons behind this partition. It also studies those Ray-films that investigate the declining post-partition situation of West-Bengal and specially Calcutta and also delineate the grim pictures of the refugee exploitation, emancipation of refugee woman and their impact on the society. The Bengal, especially during the nineteenth century, with the advent of western education, perceived a golden era of social, political, religious and literary awakening known as the Bengali Renaissance. But within half a century this same Bengal witnessed some great communal atrocities which finally in 1947, divided the land into two parts – the Muslim ‘East-Bengal’ and the Hindu major ‘West-Bengal’. Over the years, the issues related to partition, which are minutely addressed in a significant number of Ray-films, were technically ignored by scholars, who chiefly ascertained Ray’s films in a myriad of perspectives, notwithstanding the fact that there is a deficiency of some specific scholarship that ensue his cinema within the light of devastating Bengali partition1. This thesis will primarily engage in investigating Ray’s cinema within the light of the Bengali Partition of 1947 and its prolonged residual process; it will draw two distinguishable categories of Satyajit’s prominent films: the first section seeking Ray’s criticism of religious orthodoxies, such as superstitions, blind-faith, untouchability and communalism. The second category will discuss Satyajit’s reprehension of the post-partition [West] Bengali society, the declining city and the uncontrollable refugee crisis – all of which were assuredly the fruits of the Partition. The aim of this thesis is to investigate Satyajit’s cinema that works as a potent articulation against the dolorous partition and the tormenting residual process. The questions that inform the study surround are the backdrop, influence and the means by which a stalwart virtuoso, like Satyajit, expresses his dissatisfaction and anguish. How Satyajit addressed communalism and religious fanaticisms, such as vulnerable superstitions and untouchability? How he ‘voiced’ his excruciation about the post-partition deterioration of his own city? How his films reacted against the ‘exploitation’ of ‘migrant women’ and celebrated their‘emancipation? How Satyajit employed the mid-night’s children or ‘second generation refugees’ as the lead protagonists of his films? Various representations and interpretations of these categories, within the locus of Ray’s cinema are analyzed in this thesis in order to examine the social, historical and political grounding that invigorated Satyajit Ray to produce these films.