論台灣新電影之反抗與傳承：以世代、影展、長鏡頭為線索

Abstract

台灣新電影在台灣文化歷史上佔有重要地位，且於1986年之後獲得國際電影評論、國際影展與電影史學者的關注。國內外電影學者由政治、經濟、美學各方面切入分析台灣新電影後，往往認為台灣新電影與台灣的民主化歷程有重要關聯性，它代表了反抗好萊塢的文化帝國殖民與反抗國民黨的大中國意識形態的具體表現。然而台灣新電影相關研究往往忽略的事實是，由於台灣新電影具有極其特殊歷史、地理與文化脈絡，若以法國新浪潮或第三世界電影的後殖民理論說明，可能看不清楚台灣新電影發展前後面臨的特殊處境，因此本文藉由探討台灣新電影形成與沒落的原因，試圖勾勒出台灣新電影「反對殖民化」但「贊成經典化」的矛盾性。本研究亦嘗試跳脫二元對立觀點，深入過去較為忽視的歷史脈絡，由回歸現實世代形成的「天時」、台灣作為自由中國的「地利」，以及台灣影評人、新電影導演與國際電影學者密切交往的「人和」等三個面向，融合電影史既有的「政治、經濟、美學」的研究架構，重新整合出「世代、影展、長鏡頭」等三個構面進行討論。本研究提議以「需求繁生」的動態觀點重親審視反抗與傳承所構成的文化張力，並將「新浪潮」與「新電影」視為一項因應環境脈絡需求而生的文化策略。另一方面，台灣新電影的快速沒落呼應了影癡消逝的當代現象。培養新一代的影癡觀眾也將是下一波電影新浪潮重生的關鍵因素。

Taiwan New Cinema occupies an important cultural and historical status, which also fascinates the Western since 1986 when discovered by international film critics, festival directors, and film historians. Both film scholars at home and abroad tend to believe that Taiwan New Cinema associates with Taiwan’s democratization process by analyzing various aspects of politic, economy, and aesthetic of Taiwan New Cinema which represents the resistance to Hollywood movies and the struggling againt Kuomintang’s Chinese colonial attempts. However, regardless of specific historial, geographical, and cultural context, studies of Taiwan New Cinema often ignore the fact that theories accounting for Nouvelle Vague (French New Wave) or Third-World Cinema might not well-explicate the specific situation of Taiwan New Cinema, emerging or decaying. Therefore the present study is trying to develop new aspects to explore the reasons why a cinematic wave was aroused and eventually waned, and to outline its “anti-colonization-pro-canonizaion” dilemma. The study also attemps to escape from dualistic views and trys to delineate the often neglected historial context. The context is poised on three dimensions: “youth generation”, “film festival”, and “long take”, which are the integration of “timeliness”, “location”, “social networks”, and the basic “potical-economical-aesthetic” triad. This study proposes a dynamic view of “demand and multiplication” to re-examine the cultural tension against the power resistance and tradition following. In this aspect, either “New Wave” or “New Cinema” is seen as a cultural strategy in order to adapt to the environment and to meet the demand. On the other hand, cinephile development will also be an important issue for anticipating the next New Cinema generation.