“归去”主题在侯孝贤电影中的流变

Change of the Theme of Going Back in Hsiao- hsien Hou's Films

电影《刺客聂隐娘》是侯孝贤作品中具有独特意义的一部,它以一种前所未有的极致化风格来重新诠释和界定侯孝贤的电影美学精神,更重要的是它在延续侯孝贤作品中的"归去"主题的同时,又赋予了这一主题新的内涵,从而使侯孝贤电影中的"归去"主题形成一个完整而富有层次感的思想体系。侯孝贤电影中的"归去"主题深刻地体现了中国传统美学的精神,同时又反映出了不同时代的历史特征,这一主题在侯孝贤不同时期的电影中共有三个不同层次的体现。第一个层次表现为对城市文明的否定和对乡土文明的赞美,它产生于城乡二元对立的语境下,主要出现于侯孝贤前期的作品中,集中地体现了儒家美学中的礼乐精神。第二个层次表现为对已经逝去的乡土文明的深切伤感缅怀与对纷繁复杂的城市文明的怅然迷惘,它产生于全面工业化之后的历史时期,主要出现于侯孝贤的中期和部分近期的作品中。第三个层次表现为其审美人生的诗意胸怀,它超脱于历史和现实的维度,它的内涵和意蕴是最为深刻的,集中体现了道家美学中的追求心性自由、寄情自然的思想。

The Assassin is quite a special film among Hsiao - hsien Hou＇s works, for it gives a reinterpretation of the aesthetic side of his work and redefines it with an unprecedented style. More importantly, The Assassin not only inherits Hou＇s theme of Going Back, but also explores a new meaning of it. In this way, the theme of Going Back in Hou＇s works becomes a complete and profound system. The theme of Going Back in Hou＇s film embodies Chinese traditional aesthetic spirit; meanwhile it reflects different historic characteristics. This theme has three different meanings in Hou＇s all time works. The first meaning of the theme of Going Back in Hou＇s films is the denial of urban civilization and the compliment of rural civilization. This meaning appears in the background of the contrast between urban and rural and can mostly be seen in his early works. The ＂Ritual Music Spirit＂ of Confucian ideas is quite highlighted. Obedience and maintenance toward traditional ethic system show the ＂Ritual Spirit＂ while the enlightenment and connection made within people＇s inner world by the beauty of their hometown show ＂Music Spirit＂. The second level of the theme of Going Back is the remembrance of the lost rural civilization and a confusion of the complex urban civilization, which takes place after the industrialization and can be seen in Hou＇s rather later works. In these films, the benevolent spirit of the Confucian school, as well as the art of Doing Nothing in Taoism, are equivalently important. Hsian -hsien Hou has paid close attention to everyone＇s daily life in a common touch. And he has never in- truded, but told the story as an outsider. The third meaning of the theme Going Back lies in the poetic emo- tion dealing with life itself. It is beyond the scope of history and reality, which own the most incisive conno- tation. Taoism＇s spirit of seeking freedom and immersing oneself in nature are dominant part of it. The third level of the theme Going Back in Hou＇s former work is rather scattered. But in this very work, the theme has reached a consummate level. Also the variation of the same theme shown in Hou＇s work is reasonable. First, traditional Chinese culture has its influence on Hsiao -hsien Hou. Second, Hou has always paid close atten- tion to Taiwan＇s current affairs. Third, Hou is affected by the foreign films greatly. All these three reasons have impact on Hou＇s work simultaneously.