黑色電影之父系傳奇---從弒父失怙到流離失所
林建國
行政院國家科學委員會
美國;華語電影;民主;黑色電影;兄系;希臘悲劇;流離失所;母系;國家;父系
政府委託研究報告
國立交通大學外國語文學系
基礎研究
309
語文;;;
America; Chinese cinema; democracy; film noir; fraternity; Greek tragedy; homeless; maternity; nation; paternity.
2010
華語黑色電影雖然數量很小,運行軌跡卻很特別:以家庭開始,以國家結束。表面上,發展過程類近當年希臘悲劇的運行軌跡,也從家庭起始(如埃斯吉里斯的《奧列斯提斯三部曲》與索佛克里斯的《伊狄帕斯王》),進而仰望施行民主政治的城邦,解決家族爭端。不同的是,華語黑色電影的結局,都是無解的政治爭端,唯一缺席的是民主意識。證據出現在以下系列的華語黑色電影──父系、母系、兄系,與流離失所類型。這些電影裏的人物,作為公民的權力全數剝奪,下場悲戚。以上歸類,雖然出自美國各別黑色電影研究影評人之手,卻是華語黑色電影提供實例,作了最佳詮釋。;The trajectory the Chinese film noir, a generic film small in number, takes the one that begins from the family and ends in the nation. By appearance, this process resembles the one ancient Greek tragedy took, which found its inception in family (Aeschylus‘ The Oresteia and Sophocles‘ Oedipus Rex) and looked up to the democratic polis as the solution of conflicts within the family. In reality, however, the Chinese noir ends up in a political strife that is anything but democracy. This can be supported by a series of Chinese films noirs that could be deemed either paternal, maternal, fraternal, or even homeless, where disenfranchised citizens meet their abject fate. Though it is the American film noir critics that first bring these categories into play, it is the Chinese noir that has offered the best support to illustrate them.
科技部政府研究資訊系統
https://www.grb.gov.tw/search/planDetail?id=2125617