侯孝贤电影中的“慢美学”与女性意识--从《南国再见,南国》到《刺客聂隐娘》

“Slow Aesthetics”and Female Consciousness in Hou Hsiao-Hsien's Films—From Goodbye to the South to The Assassin Nie Yinniang

上世纪90年代中期以降,侯孝贤的电影越来越"慢"。"慢"并非指通过改变电影的秒格数所产生的慢动作,而是影片中的角色行为、身体形象,乃至主体意识在时间的延伸中变得清晰可见、可感,甚至可思。从"慢美学"和女性意识的角度出发,检视侯孝贤从《南国再见,南国》到《刺客聂隐娘》七部长片,指出其愈来愈重视在"缓慢"的镜头调度中呈现女性记忆与情绪绵延,以及时间的空间化表述。在可见可感的时空形式中,侯孝贤以一种有别于经典戏剧叙事的表达方式--"慢美学"--呈现另类的女性故事。侯孝贤电影中女性的惶惑、成长,及其主体意识的觉醒与身份建构,都与"慢美学"的银幕表征密切相关。

Since the mid-1990s,Hou Hsiao-hsien's films have become slower and slower.The term“slow”here does not refer to the“slow motion”produced by changing the“frames per second”(FPS)of the film,but the role behavior/body image in the film,and even the subject consciousness that becomes clear,visible,perceptible and even thoughtful in the extension of time.From the perspective of“slow aesthetics”and women's consciousness,this paper makes a careful ex-amination of Hou Hiao-hsien's seven feature films from Goodbye to the South to The Assassin Nie Yinniang,and points out that he pays more and more attention to the presentation of women's memory and emotion as well as the spatial expression of time in the“slow”lens scheduling.In this visible and perceptible form of space and time,Hou Hsiao-hsien presents“alter-native”female stories in a way different from the classical drama narrative—“slow aesthetics”.That is to say,the women's confusion,growth,awakening of subject consciousness and identity construction in his films are all closely related to the screen representation of“slow aesthetics”.