武俠片類型研究與轉譯問題

Abstract

武俠片是華語電影的重要類型，近年産量雖遠不及全盛時期，但在資金、人才等方面跨地域合作的成功，令一些大製作成為「全球化」的典範。本計畫將分以下兩個階段進行： 一、 類型發展耙梳 這是本計畫「基礎研究」的部分，其焦點如下： 1) 經典場面：特別是「竹林大戰」、「客棧交會」和「二人對決」。 2) 電影技巧與科技發展：以上述場面為主幹，追索自一九六零年代中期「新派武俠片」興起以來，運鏡、場面調度等各種電影技術的歷史發展淵源。 3) 敘事結構：除結構主義式初步整理外，尚希望發掘敘事中的矛盾、弔詭和複雜的依存關係，並引入精神分析有關欲求的理論。 4) 主題：特別著眼於「俠」的意義及其在中西文化衝擊下的流變。 二、從武俠片「轉譯」困難再思全球化問題 我特別感興趣的是電影文本如何因為美學和意識形態等方面的文化差距，而無法隨意流通的「阻力」問題。在整理出下達一九九零年代，以港台為基地的武俠片基本類型特色後，會考察《臥虎藏龍》之後刻意同時推銷到非華語地區的作品，在這些在票房和口碑上成功或者失敗的例子裡，試圖找出到底有什麼美學或者意識形態的因素，促使跨文化流通的成與敗？希望透過這種特別側重全球化「阻力」而非「超流動性」的具體分析，可跟研究全球化理論的學者展開對話，超越先前純類型特徵的基礎研究。

Wuxia film is a major genre in Chinese-language cinema. Although wuxia production in the last decade can hardly rival the golden age of the 1960s, because of transnational cooperation in terms of capital, talents and so forth some recent big-budget wuxia films enjoyed great success and became classic examples of the globalization of the film industry. This proposed study of the wuxia genre is divided into 2 stages as follows – I. The initial stage: studying the evolving generic features of the genre My focuses will fall on: a) 3 classic scenes: namely, the bamboo grove fight, encounter in an inn, and the duel b) The historical development of cinematic skills and related technologies: focusing on the classic scenes below, I will trace such developments from the 1960s to the late 1990s, including in my research will be such things as mise-en-scene, special effects and other technological aspects of film making (including those found in post-production) c) Narrative structure: a preliminary structuralist approach followed by a more poststructuralist and psychoanalytically-informed exploration of the curious “narrative logic” involved d) Themes: of the various themes I will pay particular attention to the idea of “xia” or chivalry, detailing the changing meanings concerned in the wake of East-West cultural conflict and interchange II. The difficulty of “transculturation” I am especially interested in how, because of differences in aesthetics and ideologies, a wuxia film cannot circulate freely across cultural boundaries. Having worked out the generic features of the genre, I will examine the success or failure of a number of post-Crouching Tiger, Hidden Dragon wuxia films which deliberately aim at a more global audience. Through such examples, I wish to find out what aesthetic and cultural factors account for the facility and which for the difficulty of transnational filmic circulation. I hope my concrete examples in reception will contribute to the often abstract and theoretically-oriented current debates on globalization of the cultural industry.