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我們就是這樣變笨的--為何要重讀一切電影文本?

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  作為一個喜歡文學與電影的人,我閱讀文本時為何多用感情、少用理性?這是因為我本性濫情,還是有結構性的因素?

  對狄更斯小說、《跳出我天地》及《天涯海角》等文本的重新認識,令我反省自己一向解讀文本的盲點。我甚至有個更激進的想法:也許,我們可以從政治社會的角度重新解讀所有小說電影。尼采曾經有「重估一切價值」的驚世豪語,對於電影小說,我們是否應該「重讀一切文本」?

  《白雪公主》等童話,不早就被認為是父權政治的產物嗎?亦舒小說中的愛情,不都是以中產階級的價值為依歸嗎?我們漠視「生當為人傑,死亦為鬼雄」等不少的豪邁詩詞,而把李清照簡化為婉約派,難道沒有性別意識在作崇?米開朗基羅的大衛像,不正是意味著中世紀的結束,並預見一個高舉人民力量的政治新時代?《天煞:地球反擊戰》中英俊又智勇雙全的總統,不正代表著九十年代美國人的自我形象嗎?《明日之後》中早逝的總統與落難的人民,反映的不是九一一後美國人的自省嗎?以上哪一個文本不與權力及政治有關?

既然這樣的例子不勝枚舉,那麼我們的盲點是從何而來的?約翰伯格在《藝術觀賞之道》(Ways of Seeing)曾提出古典藝術被「神秘化」的問題。他認為很多人對古典名畫的介紹,只強調繪畫的技法、筆觸、構圖,這令畫作可能激起的情感與社會衝突消失殆盡,而換上冷冰冰的所謂「藝術欣賞」。這個「神秘化」的過程,把充滿社會意義的藝術矮化為上流社會的玩意,把充滿政治控訴的藝術貶值為遙不可及的附庸風雅,長此下去,我們就會「被剝奪了屬於我們的歷史」。

那麼,藝術為何會被「神秘化」?那是因為社會的統治階層及既得利益者並不希望我們從文本發掘太多的反叛聲音。是的,如果《鹿鼎記》的一夫多妻只是「無傷大雅的藝術手法」,大家自然不必由此反思現今社會上的性別不平等;如果討論雨果的《巴黎聖母院》只強調其小說技巧,我們也不會從這小說聯想到今天的種族歧視與強權當道。於是,韋小寶有七個妻子與我們無關,吉普賽人被邊緣化也似乎只存在於一部古老小說中,但事實真的是這樣嗎?

這就是盲點之所在:我們光用感性看電影,我們只從藝術手法討論電影──電影就是這樣被「神秘化」的。
  
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電影創作被重視當然是好事,但當它登上藝術的殿堂,其政治社會意涵卻可能會被抹殺了。

試想想一本電影入門書的內容:我們要學何謂分鏡、運鏡與蒙太奇,要了解什麼是寫實主義與表現主義,卻似乎不必懂馬克思或全球化理論;我們要對美國大師的作品倒背如流,卻似乎不必了解美國的政治局勢如何在電影中展現。

類似情況有時就發生在我身上。身為一個電影專欄作者,如果我不懂法蘭克福學派或女性主義可以是天經地義的事,但假使我未看過塔可夫斯基,有人就會大惑不解:你竟然未看過這個那個?有時候,我似乎被期望是一本電影字典,而不是一個懂得分析電影的人。因此,如果我從每一個鏡頭長篇大論地去欣賞一部電影的技法,會被視為自然不過的事,但當我嘗試發掘文本的階級或性別意義,我有時真的會戰戰兢兢,生怕負上「穿鑿附會、走火入魔」的罪名。在這裡,被重視的是藝術風格、藝術技法、藝術史,而不是把電影放在政治社會的脈絡中分析。如此,電影分析就被「去政治化」,我們自然很少從政治社會及權力運作的角度看電影──我們就是這樣變「笨」的。

生活在港澳社會,我們的「去政治化」傾向有另一個原因──殖民地文化。在殖民時代,當切身的政治社會大事我們都管不著,又何來那個心思去發現文本的政治意涵?當我們被教育成對政治不聞不問,又何來對文本的敏銳?再者,教育制度從來漠視批判思考的培養,我們就是有心,恐怕也是無力去從不同角度分析文本。最後,電影只剩下兩種:娛樂片是淺俗的,不必分析;藝術片是高深的,它只屬於社會上的「有閒階級」。於是,電影評論以及相關的文化研究成了備受忽視的邊緣文字/學科。

所以,已有學者提出光從美學的角度研究電影會走向死胡同──這會把文本矮化成高不可攀的藝術,而抹煞了其政治社會意義。不少研究者正提出電影其實是“寓言化”了社會現實與政治局勢,因此才會有人從東方主義的角度批評《大紅燈籠高高掛》販賣討好洋人的偽中國風情,才會有人著力發掘王家衛電影的政治意涵。這是一次任重道遠的征途:我們試圖撕去傳統電影研究那神秘的面具,還原其甚具政治社會意義的真貌,我們拒絕再做電影院中的笨小孩。

(我怎麼那麼笨.中)



台長: Pan

CL
Going to movies, in the same way as going to museums, is a thought provoking exercise. How much the perceiver can derive depends on one’s sensitivity to history, cultural difference, social context, political and religious influence, philsophical knowledge, music background, movie history, etc. This list has never been exhausted and that is why both watching movies and going to museums are so interesting. As one accumulates more knowledge in certain area, of course the perspective will change accordingly, right?

BTW, I think London museums are free of charge. After decades of elite education when native Brtish could naturally judge a person’s background from his/her accent, in the same way as the professor in ”My Fair Lady”, even BBC is trying to recruit staff from other nationalities so as to show their openness to multi-culturalism. Besides, I have watched a TV interview with Hugh Grant recently and this Oxford alumni is still able to recite Chaucer. Obviously the modern society of the UK is tremendously different from what it was in the time of JRR Tolkien (before WWII) when ”hobbit” is a British sterotype.

It is my personal opinion that movies, in the same way as arts, should be diversified and opened to the public. One does not necessarily need to be a painter so as to understand western paintings, in the same way that technological analysis is only one aspect of movie criticism.

Both HK & Macao are a bit of the extreme, as serious movie-goers have the tendency to watch more art house movies by oneself. Will you be surprised if I tell you that Woody Allen’s ”Melaine & Melaine” is showing in Tokyo last year and it was full house despite the fact that most Japanese do not speak English? Maybe, the Beatles have got it right: We all live in a yellow submarine.
2006-10-22 00:56:54
Pan
HI CL,
又見到你了.好嗎?
Melaine & Melaine在日本滿座嗎?在大院線還是art house影院?
anyway,雖然日本社會強調紀律性,不鼓勵個人主義,
但我一直不懷疑日本包容非主流文化的能力.
有次我跟一個日本談起女性運動,她就輕輕的說起她的那間大學出了不少著名的女性主義者.我當時很汗顏,別說澳門,在香港有什麼”女性主義者”可言?
英國的階級文化真的是非常有趣的議題.
在英國時我旁聽了英國電影一課,發現英國電影史上的重要作品大部分甚具階級意義,包括mike leigh, ken loach, linday anderson等等.最近woody ellen去英國拍的match point竟也是個階級寓言,這才叫我震驚呢!
2006-10-23 23:51:08
CL
Hi Pan,

Melaine & Melaine is showing in an art house in Ebisu (恵比寿). When compared with HK and Macao, Japan has got more art houses and the audience range does not limit to University students at all. The negative side, however, is that the dialogue will be original language with Japanese sub-titles. A real challenge for my Japanese reading ability indeed.

Feminists in Japan have to work very hard indeed, as this nation has got the tendency to market even consumer goods according to gender. Red/pink is thought to be the female colour, what a narrow perspective, right? To make things worse, even the Royal Family finally is able to produce a male heir so that there is no need to change the constitution to admit a female heir. This is so awful.

I recalled that at one time I was saying ”hello” to my new neighbour and I mentioned accidentally that I was working and my neighbour just stared at me as if I have done something wrong. This nation still perceived that women should be staying at home... According to statistics done by foreign firms, women employment is the most under-used resource in Japan and the GDP could be climbed up by 1% if women participation in labour force is permitted.

Both my husband and I are movie buffs, although neither of us study movie in University. In my point of view, Woody Allen’s early works have more focused on philosophical discussion and his Jewish inheritance, and his later works are a bit senile. Match point is his turning point, and the opera sang by Enrico Caruso is superb. I also got one at home.
2006-10-26 12:27:51
台長_PAN
說起日本文化,想請查你:在日本的大男人社會中,為何對女性化的男性那麼寬容?我曾一個曾在日本工作的白人聊天,他說日本男生外型的女性化叫他很驚訝,例如他們大多會修眉等,而日本藝能界中的當紅年輕男星亦常常甚為中性.
我剛看了MATCH POINT,也很喜歡,尤其是他結合階級去談”幸運”的問題.片中有一小節我印象特別深:出身階級較低的男主角相信運氣,而富家女則反而說努力比較重要.
2006-10-27 13:21:49
是 (若未登入"個人新聞台帳號"則看不到回覆唷!)
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