超越通俗劇：舒馬克的歌劇魅影（2004）

Abstract

改編自安德魯·洛伊·韋伯1986年的同名音樂劇，靈感同時來自卡斯頓·勒胡於1910年所出版的法國小說《歌劇魅影》──2004年舒馬克執導的電影改編版《歌劇魅影》將觀眾帶入了通俗劇的世界。通俗劇因使用了固定的人物形象和公式化的情節安排而一直被學者蔑視並被視為低級文化。然而，學者忽視了通俗劇在改寫傳統和公式方面的靈活性和適應性。本論文以《歌劇魅影》（2004）為通俗劇範例，探討編劇安德魯·洛伊·韋伯和喬伊·舒馬克如何利用通俗劇元素並同時顛覆它們，繼而超越通俗劇的限制。從角色塑造和情節安排方面來說，本論文主張這部電影比傳統的通俗劇更加複雜和多維，成為了現代通俗劇發展的一個例證。

Based on Andrew Lloyd Webber`s 1986 musical of the same title, which in turn is inspired by the 1910 French novel Le Fantôme de l`Opéra by Gaston Leroux, the 2004 film adaptation of The Phantom of the Opera, directed by Joel Schumacher, brings the audience to the world of melodrama. Melodrama has long been despised and regarded as low culture by scholars, due to its use of stock characterization and formulaic plot arrangement. However, the scholars overlook the flexibility and adaptability of modern melodrama in rewriting the traditions and formulas. This thesis, focusing on The Phantom of the Opera (2004) as a melodrama, explores how the screenwriters, Andrew Lloyd Webber and Joel Schumacher, utilize the melodramatic elements and subvert them at the same time, transcending the limitations of melodramas. I argue that, different from the traditional melodramas, the 2004 film adaptation of The Phantom of the Opera justifies how this modern melodrama proves itself as a valuable and respectable literary artwork, due to its portrayal of the complexity of human nature and melodramatic but innovative plot rewrite. In this film, the screenwriters utilize the melodramatic elements and subvert them at the same time, so as to go beyond the limitations of melodramas.