论当下电影的片头形态与叙事功能——以侯孝贤、李安和蔡明亮导演的台湾电影为个案

On the Forms and Narrative Functions of Film Preambles at Present—A Case Study of the Films of Hou Xiaoxian, Li An and Cai Mingliang

片头叙事的功能开拓,在形成谱系的台湾电影里表现得非常突出。作为第二代导演代表,侯孝贤创造性地处理片头,使之成为影片的最佳注脚:或传达和谐的自然理想,或成为一个情节隐喻而颇具“元叙事”特征,或构建散点透视的全息式结构;第三代导演的李安因置身异域文化,借助好莱坞电影在中产阶级中的优势,对片头进行了一种重情节、重节奏的剪辑处理,积极靠近古典叙事,这在他的“父亲三部曲”中尤为明显;同为第三代导演的蔡明亮执着于现代主义的艺术理念,透露出个人专断的风格。片头出现了两类情况:或被强行解构,既取消了说明功能,也失去了叙事功能;或运用陌生化策略建构寓言性世界。而这是强调审丑与超越的现代主义所决定的。

The deploitation of the narrative function of the film-preambles is a striking feature of Taiwan films series. As the representative of the second-generation director, Hou Xiaoxian is creative in his treatment of the film preamble, making it the best footnote to a film. This footnote either expresses the dream about harmonious nature, or becomes a plot metaphor with striking meta-narrative feature, or forms a hologram construction of scatter perspective, etc. Li An, a representative of the third-generation directors, once lived in the U.S. and influenced by Hollywood films, attaches great importance to plot and rhythm in his treatment of film preambles, and favors classical narration. All this is clearly manifested in his “father” trilogy. Cai Mingliang, another famous third generation director, sticks to the artistic philosophy of modernism and displays an arbitrary style. As a result, his preambles are either deconstructed by force, losing their expositive function and narrative function, or try to construct a allegory world by means of “Entfremdung” tactics. And this is determined by modernism that emphasizes the ugly and strives for surpassing.