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題名 從台灣電影觀看巴贊寫實主義理論
Andre Bazin from the Lens of Taiwan Cinema作者 陳儒修
Chen, Ru-Shou Robert貢獻者 政大廣告系 關鍵詞 巴贊;寫實主義;台灣電影;侯孝賢;蔡明亮
Andre Bazin; Realism; Taiwan cinema; Hou Hsiao-Hsien; Tsai Ming-liang日期 2009-03 上傳時間 13-Mar-2013 11:28:24 (UTC+8) 摘要 2008年適逢法國《電影筆記》雜誌創辦人與「新浪潮」電影運動之父安德烈．巴贊九十週年冥誕，本報告擬就台灣電影的歷史發展，省思巴贊所倡導之寫實主義電影理論，對於台灣的電影學術論述、電影語言的表現、以及影像美學的精進等面向，究竟帶來何種影響，做一番回顧探討。 首先就電影研究論述而言，要到1965年《劇場》雜誌，以及稍後的1971年《影響》雜誌相繼出版之後，西方電影才被正式引介入當時政治高壓而文藝低壓的台灣，於是高達、楚浮等導演的名字開始出現在文藝青年的口中與文章裡，這些電影導演所代表的作者論，成為台灣學術界認識西方電影理論的入門管道，而它的守門人，自然是巴贊。稍後有Dudley Andrew重要著作Major Film Theories被翻成《電影理論》（1983）出版，該書將電影研究渠徑分為寫實主義傳統與形式主義傳統兩種，前者的代表人物就是巴贊。到了崔君衍翻譯巴贊文集Qu`est-ce que le cinema?為《電影是什麼？》（1995）出版之後，台灣總算得以親灼巴贊個人撰述的理論文章與影評。法國導演侯麥曾經提出巴贊對於電影的中心信念，也就是堅決肯定影像的客觀性，可以說在1982-1986年間的台灣新電影運動獲得見證。從《兒子的大玩偶》起，我們看到這批新電影運動導演對於影像的尊重，攝影機的鏡頭並不急於跟著畫面中的人物四處走動，它只固定在一個位置，讓事件在鏡頭前面自然展開，就如同侯孝賢導演所說的，他所呈現的，不過是「大自然的生存法則」。於是有《風櫃來的人》片中的經典畫面：兩批不良少年互相毆打，只見他們從鏡頭左方奔逃出鏡，不久，同一群人從左方再度入鏡，穿過鏡頭中心後又從右方出鏡，攝影機一動也不動，卻提供給觀眾廣闊的鏡外想像空間。其他的台灣新電影運動的成員，包括楊德昌與柯一正等人，都有類似的鏡頭表現。巴贊認為，一切被電影影像所捕捉定格的事物，都曾經是現實的一部分（Everything that is filmed once was in reality.）。這樣的信念，對於台灣電影的影像構圖之潛在影響，可以說從台灣新電影時期一直延續到今天，蔡明亮的電影是最好的例子。蔡導演曾經表示，他要讓時間和影像一樣真實，所以，要呈現一個人物等了很久而抽了五根菸，他會拍這個角色抽五根香菸的時間，而不是只呈現煙灰缸裡有五根煙蒂。他不僅在呼應莫理斯．布朗修的名言：「故事？不，不要故事，再也不。」（出自《日之狂》），他同時印證了巴贊提出的「攝影影像本體論」，也就是回歸事物存在狀態的厚度。從1965年到2008年，巴贊對於電影的信念，逐漸在台灣電影發酵而有具體影響。本報告在拾掇（不確定作者是否要用此意）這些痕跡的過程中，也希望藉此回顧並前瞻台灣電影的發展。 The year 2008 marks the 90th birth anniversary of Andre Bazin（1918-1958）, co-founder of film magazine Cahiers du Cinema and main inspiration behind the French New Wave cinema movement, and the 50th anniversary of his death. This paper would like to examine retrospectively how the legacy of realist film theory Bazin proclaimed until his untimely death has affected Taiwan cinema, in terms of theoretical exploration, evolution of film language and aesthetics for the past 40 some years. First of all, film was not treated seriously in Taiwan until the publication of the Theater magazine in 1965 and the Influence magazine in 1971. From then on, auteurs such as Jean-Luc Godard and Francois Truffaut and their films were embraced enthusiastically by Taiwan`s intellectuals. Film study was admitted as an academic discipline after Major Film Theories by Dudley Andrew was translated and published in 1983. One important contribution of this book is to divide film theories into two camps: realistic tradition and formalistic tradition. And the major figure for the realistic tradition is without doubt Andre Bazin. But film aficionados as well academics need to wait for the translation of Qu`est-ce que le cinema? in 1995 before grasping Bazin`s ideas of realism in a better picture. Coincidentally, the years 1982-1986 were also the high time of the Taiwan New Cinema movement. Frequent uses of long take and long shot camera style as well as non-professional actors, focusing on daily life experience of ordinary people, and the direct allusion of off-screen space, once praised by Bazin for the Italian Neo-Realism cinema, are vividly presented in films of Hou Hsiao-Hsien, such as Son`s Big Doll and Boys from Fengkuei（both 1983）.Bazin`s notion "Everything that is filmed once was in reality" is also dearly observed by Tsai Ming-liang, another key figure in contemporary Taiwan cinema. Tsai wants to portray his film as real as the time. So, for example, if he wants to present a character smoking five cigarettes to kill time, he will shoot the scene exactly as the character smoking five cigarettes. It is a direct copy of Nanook of the North, a documentary praised by Bazin for depicting the duration of the time.This paper ends by reflecting the reason why we still need Bazin today, especially for the Chinese-language cinemas, as an effort to understand the reality through the lens of cinema. 關聯 電影欣賞學刊,27(2),125-136 資料類型 article dc.contributor 政大廣告系 en dc.creator (作者) 陳儒修 zh_TW dc.creator (作者) Chen, Ru-Shou Robert en dc.date (日期) 2009-03 - dc.date.accessioned 13-Mar-2013 11:28:24 (UTC+8) - dc.date.available 13-Mar-2013 11:28:24 (UTC+8) - dc.date.issued (上傳時間) 13-Mar-2013 11:28:24 (UTC+8) - dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/57138 - dc.description.abstract (摘要) 2008年適逢法國《電影筆記》雜誌創辦人與「新浪潮」電影運動之父安德烈．巴贊九十週年冥誕，本報告擬就台灣電影的歷史發展，省思巴贊所倡導之寫實主義電影理論，對於台灣的電影學術論述、電影語言的表現、以及影像美學的精進等面向，究竟帶來何種影響，做一番回顧探討。 首先就電影研究論述而言，要到1965年《劇場》雜誌，以及稍後的1971年《影響》雜誌相繼出版之後，西方電影才被正式引介入當時政治高壓而文藝低壓的台灣，於是高達、楚浮等導演的名字開始出現在文藝青年的口中與文章裡，這些電影導演所代表的作者論，成為台灣學術界認識西方電影理論的入門管道，而它的守門人，自然是巴贊。稍後有Dudley Andrew重要著作Major Film Theories被翻成《電影理論》（1983）出版，該書將電影研究渠徑分為寫實主義傳統與形式主義傳統兩種，前者的代表人物就是巴贊。到了崔君衍翻譯巴贊文集Qu`est-ce que le cinema?為《電影是什麼？》（1995）出版之後，台灣總算得以親灼巴贊個人撰述的理論文章與影評。法國導演侯麥曾經提出巴贊對於電影的中心信念，也就是堅決肯定影像的客觀性，可以說在1982-1986年間的台灣新電影運動獲得見證。從《兒子的大玩偶》起，我們看到這批新電影運動導演對於影像的尊重，攝影機的鏡頭並不急於跟著畫面中的人物四處走動，它只固定在一個位置，讓事件在鏡頭前面自然展開，就如同侯孝賢導演所說的，他所呈現的，不過是「大自然的生存法則」。於是有《風櫃來的人》片中的經典畫面：兩批不良少年互相毆打，只見他們從鏡頭左方奔逃出鏡，不久，同一群人從左方再度入鏡，穿過鏡頭中心後又從右方出鏡，攝影機一動也不動，卻提供給觀眾廣闊的鏡外想像空間。其他的台灣新電影運動的成員，包括楊德昌與柯一正等人，都有類似的鏡頭表現。巴贊認為，一切被電影影像所捕捉定格的事物，都曾經是現實的一部分（Everything that is filmed once was in reality.）。這樣的信念，對於台灣電影的影像構圖之潛在影響，可以說從台灣新電影時期一直延續到今天，蔡明亮的電影是最好的例子。蔡導演曾經表示，他要讓時間和影像一樣真實，所以，要呈現一個人物等了很久而抽了五根菸，他會拍這個角色抽五根香菸的時間，而不是只呈現煙灰缸裡有五根煙蒂。他不僅在呼應莫理斯．布朗修的名言：「故事？不，不要故事，再也不。」（出自《日之狂》），他同時印證了巴贊提出的「攝影影像本體論」，也就是回歸事物存在狀態的厚度。從1965年到2008年，巴贊對於電影的信念，逐漸在台灣電影發酵而有具體影響。本報告在拾掇（不確定作者是否要用此意）這些痕跡的過程中，也希望藉此回顧並前瞻台灣電影的發展。 The year 2008 marks the 90th birth anniversary of Andre Bazin（1918-1958）, co-founder of film magazine Cahiers du Cinema and main inspiration behind the French New Wave cinema movement, and the 50th anniversary of his death. This paper would like to examine retrospectively how the legacy of realist film theory Bazin proclaimed until his untimely death has affected Taiwan cinema, in terms of theoretical exploration, evolution of film language and aesthetics for the past 40 some years. First of all, film was not treated seriously in Taiwan until the publication of the Theater magazine in 1965 and the Influence magazine in 1971. From then on, auteurs such as Jean-Luc Godard and Francois Truffaut and their films were embraced enthusiastically by Taiwan`s intellectuals. Film study was admitted as an academic discipline after Major Film Theories by Dudley Andrew was translated and published in 1983. One important contribution of this book is to divide film theories into two camps: realistic tradition and formalistic tradition. And the major figure for the realistic tradition is without doubt Andre Bazin. But film aficionados as well academics need to wait for the translation of Qu`est-ce que le cinema? in 1995 before grasping Bazin`s ideas of realism in a better picture. Coincidentally, the years 1982-1986 were also the high time of the Taiwan New Cinema movement. Frequent uses of long take and long shot camera style as well as non-professional actors, focusing on daily life experience of ordinary people, and the direct allusion of off-screen space, once praised by Bazin for the Italian Neo-Realism cinema, are vividly presented in films of Hou Hsiao-Hsien, such as Son`s Big Doll and Boys from Fengkuei（both 1983）.Bazin`s notion "Everything that is filmed once was in reality" is also dearly observed by Tsai Ming-liang, another key figure in contemporary Taiwan cinema. Tsai wants to portray his film as real as the time. So, for example, if he wants to present a character smoking five cigarettes to kill time, he will shoot the scene exactly as the character smoking five cigarettes. It is a direct copy of Nanook of the North, a documentary praised by Bazin for depicting the duration of the time.This paper ends by reflecting the reason why we still need Bazin today, especially for the Chinese-language cinemas, as an effort to understand the reality through the lens of cinema. en dc.language zh_TW en dc.language.iso en_US - dc.relation (關聯) 電影欣賞學刊,27(2),125-136 en dc.subject (關鍵詞) 巴贊;寫實主義;台灣電影;侯孝賢;蔡明亮 en dc.subject (關鍵詞) Andre Bazin; Realism; Taiwan cinema; Hou Hsiao-Hsien; Tsai Ming-liang en dc.title (題名) 從台灣電影觀看巴贊寫實主義理論 zh_TW dc.title (題名) Andre Bazin from the Lens of Taiwan Cinema en dc.type (資料類型) article en
