電影新浪潮——以楚浮及楊德昌的作品為例

Abstract

「新浪潮」第一次被應用在電影文本中，始於一九六〇年代的法國。當時，一群 不滿於電影工業現況的青年影評們，對於時下盛行的主流電影作出猛烈的抨擊。 他們認為主流電影重複而單調，並高度依賴劇本。電影因此成為「編劇的電影」 而非「導演的電影」。他們認為，導演應將電影視為他們個人的作品，而這些作 品應能反映出導演藝術性的個人特質。電影「作者論」於焉成形，而這些青年影 評們也開始拍攝自己的電影，為當時的法國電影工業帶來一股新風氣。 「新浪潮」因此成為了電影界中，形容為一國電影工業帶來新風向的電影運動， 被應用在世界各地。而一九八〇年代的台灣新電影便屬於其中之一。如同法國新 浪潮，台灣新電影是一群懷抱新理想的青年影人，他們不跟從過去向好萊塢看齊 的主流電影模式，而是以一個台灣人的角度，深度地重新刻畫這片土地。他們的 電影探討了台灣的政治、歷史、社會及人與人之間的關係，為台灣電影開創了新 的意象。 此二新浪潮皆為當地的電影藝術帶來了實質的影響。有鑑於此，本研究目標在於 檢視此二新浪潮的歷史背景及顯要特徵，以電影研究方法，探討法蘭索瓦・楚浮 及楊德昌兩位具代表性導演的作品，詳述此二新浪潮的精神，及兩者之間的交互 關係。最後，闡明「新浪潮」及其時期的重要性。The use of the formula “New Wave” (La Nouvelle Vague) in cinema-related contexts originated in 1960s France. It appeared with a group of young film critics who denounced the repetitiveness of the mainstream films and their high dependence on the screenplays. Films were more the scriptwriters’ films, than the directors’, they believed. In view of this, these young film critics stated that the directors should make films as their personal works, and these should reflect their artistic personality. The young film critics’ main justification of filmmaking, “la politique des auteurs” (“Author Theory”), thus emerged. They began to make films of their own and changed the climate of the film industry in France. Under its influence, “New Wave” became a phrase used to encapsulate similar film movements or new trends in cinema in other countries during the same era and after, referring to a period of time when new ways and ideas of making films come into existence. Given its range, we cannot undervalue the importance of “New Waves” in various film cultures in the world. The Taiwanese New Wave in the 1980s, which is also referred to as the “New Taiwan Cinema” or the “New Taiwanese Cinema,” is one of the best examples. Like the French New Wave, the Taiwanese New Wave involved a group of young directors who had a new philosophy of filmmaking. Through their works, they created a new image of Taiwan, and provided new perspectives to examine the history, the situation, the society, and the people of Taiwan. The two new waves substantially impacted on the film art of their domestic film industry. In view of this, this dissertation explores the historical background and distinguishing features of the two new waves. Its methodology is film-study-informed. By investigating the works of one of each wave’s major director—François Truffaut and Edward Yang, respectively—I discuss the spirit and the interrelationship of the two new waves, in order to further clarify the significance of the formula and the periods of “New Wave.”