論音樂電影《秋水伊人》敘事的美學特點

Abstract

本文從「寫實─表現」、「悲劇─喜劇」等二元對立觀點切入，探討音樂電影《秋水伊人》在敘事中的一系列特徵。\\r首先將分析這部作品的戲劇表現，包括音樂劇的形式特徵、疏離效果以及象徵手法。\\r接著，在剖析這部作品幽默語言與衝突懸置的喜劇手法之後，本文針對這些喜劇特點作另一番闡釋：喜劇元素具有營造片尾悲劇效果的敘事功能。這個部份的論述將從敘事策略以及人物的去罪惡化切入。\\r最後，藉敘事學的語式以及重複等概念作為分析工具，找出《秋水伊人》的敘事結構特徵，並總結上文的評析，說明這部作品的美學基礎在於矛盾對比。

This article treats a series of narrative features in the music film The Umbrellas of Cherbourg (Les Parapluies de Cherbourg). Most part of the argument is based on the famous binary opposition of “realistic/expressionist” and “tragic/comic” in cinema critics. We will start from analyzing the expressionist characteristics of this work, including those features derived from the nature of a musical, the effect of alienation (Verfremdung), and the application of symbol. Then, after having commented upon several comic techniques in the film, such as the use of humoristic language and suspension of conflict, we try to interpret these comic techniques in another way. We find that the comic elements in this work help intensify the tragic effect in the denouement. This argument is developed along with the discussion about the narrative strategy and about the mechanism of de-guiltiness of the personages. In the end, with the concept of narratological mode and the device of repetition served as analytical instrument, we attempt to find out the structural features of the film. As conclusion, we sum up that the aesthetic foundation of The Umbrellas of Cherbourg would be contradictory opposition.