學位論文
 
 
悲情城市:侯孝賢的迂迴卻無規避
  作者 陳淵秋
  出版年 2008
  文獻出處 陳淵秋。國立中正大學比較文學所，碩士論文。
  語言 繁體中文
  關鍵詞 台灣電影、侯孝賢、Hou Hsiao-hsien、film study、taiwanese cinema
  摘要 在電影悲情城市中,侯孝賢的處理手法,乃是使用迂迴的電影語言,然而此種迂迴是間接,而非規避歷史事件本身。
Hou Hsiao-Hsien’s authorial signatures, long take in particular, are chiefly acknowledged as highly realistic, in terms of which his films are often classified by many as authentic portrayal. When these distinctively Hou’s styles encounter the treatment of Taiwanese History in A City of Sadness, being the first attempt of dealing with the 228 Incident since the lift of martial law in 1987, however, heated debate of contradictory stances as to the historical representation therein is aroused. Whether approving or not, all admit that this film doest not guarantee its readers’ easy grab of the narrative.
Since it is not a realistic approach to a historical event, which frustrates many people’ expectation, the critics then claim that the historical treatment in A City of Sadness betrays Hou’s evasive attitude towards the political issue. His lack of dramatic representation reflects his keeping silent about the sensitive event and that, as they attack, he thus conforms to the official government. Hou’s unconventional styles in transmitting the key events during the post-war period of Taiwan should be carefully examined in order to answer these questions. What is it that impedes the viewers’ reading? And why exactly does Hou tell the story in this way? Is it simply because of his eschewing the sensitive issue? This dissertation focuses on Hou Hsiao-Hsien’s A City of Sadness, and aims to handle these crucial questions. His elusive manipulation plays a significant role in his storytelling and thus occupies a great portion in my search for the answer. While we expect to see a more conventional history film, a dramatic and vivid portrayal of the 228 Incident in particular, what Hou presents us in return is far from that. How exactly does he achieve such unusual handling of history? This issue is also the main concern throughout this dissertation. His historical intention of such manipulation will be traced out in the end.
  摘要 在電影悲情城市中,侯孝賢的處理手法,乃是使用迂迴的電影語言,然而此種迂迴是間接,而非規避歷史事件本身。
Hou Hsiao-Hsien’s authorial signatures, long take in particular, are chiefly acknowledged as highly realistic, in terms of which his films are often classified by many as authentic portrayal. When these distinctively Hou’s styles encounter the treatment of Taiwanese History in A City of Sadness, being the first attempt of dealing with the 228 Incident since the lift of martial law in 1987, however, heated debate of contradictory stances as to the historical representation therein is aroused. Whether approving or not, all admit that this film doest not guarantee its readers’ easy grab of the narrative.
Since it is not a realistic approach to a historical event, which frustrates many people’ expectation, the critics then claim that the historical treatment in A City of Sadness betrays Hou’s evasive attitude towards the political issue. His lack of dramatic representation reflects his keeping silent about the sensitive event and that, as they attack, he thus conforms to the official government. Hou’s unconventional styles in transmitting the key events during the post-war period of Taiwan should be carefully examined in order to answer these questions. What is it that impedes the viewers’ reading? And why exactly does Hou tell the story in this way? Is it simply because of his eschewing the sensitive issue? This dissertation focuses on Hou Hsiao-Hsien’s A City of Sadness, and aims to handle these crucial questions. His elusive manipulation plays a significant role in his storytelling and thus occupies a great portion in my search for the answer. While we expect to see a more conventional history film, a dramatic and vivid portrayal of the 228 Incident in particular, what Hou presents us in return is far from that. How exactly does he achieve such unusual handling of history? This issue is also the main concern throughout this dissertation. His historical intention of such manipulation will be traced out in the end.