《悲情城市》的电影形态

THE FILMIC FORMATION OF "A CITY OF SADNESS"

二．数字的说明 看侯孝贤的电影，从《儿子的大玩偶》起，就有了要沉得住气的经验。镜头长且不动，中全景为主，不露声色地叙事，就象看小津的《东京物语》、奥米的《木屐树》，无须急着找故事，静静地领受那氛围里透着的道理和情怀。这是看《悲情城市》前的精神准备。

The author analyses the setting, scene, shot, dialogue, expression of time and space in 'A City of Sadness' carefully by rea ness'ding its text of the filmic imagery. He expounds and proves that these elements are the dicisive functions which formed the style and appeals of the film. Moreover, the author points out that it is the sin- gle-take-montage in 'A City of Sadness', which composed by the unsophisticated but well-established shots,formed the heart of its filmic formation. Through his study on the aesthet- ics of montage, the author explored that 'A City of Sadness' is an oriental style creation originated from Andre Bazin's school of sequence shot. Thus he results that 'A City of Sad- is a creation of modern art which roots in the ground of Chinese culture heritage.