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上海大学学报(社会科学版)

• 影视理论研究 • 上一篇    下一篇

侯孝贤的“反骨”：从《刺客聂隐娘》看其电影的东方美学意蕴

  

  1. 上海大学 上海电影学院
  • 收稿日期:2015-10-10 出版日期:2016-01-15 发布日期:2016-01-15

Hou Hsiaohsien’s “Rebellious Bone”: the Oriental Aesthetic Implications Perceived from the Film The Assassin

  • Received:2015-10-10 Online:2016-01-15 Published:2016-01-15

摘要： 侯孝贤的电影，始终在以“反电影”的方式进行自己独特的生活观察、生命思考与影像呈现。具体表现为反动为静、反言如默、反虚入实、反西归中、反武以文，从而形成了其影片“无导演的导演”、演员“无表演的表演”、关注“前因后果无情节”的特征。这一独特风格及影像叙事语法的形成，既与导演的生活阅历、生命体验、审美趣味密切相关，又与导演对电影艺术本质的体认有关，更与导演所处的华夏民族特有的思维方式及东方文化对人生的洞察理解有关。正因如此，侯孝贤电影以其具有强烈个人风格的人文关怀与浓郁东方美学意蕴的影像表述，在世界电影史上占有了自己的一席之地。

关键词:  台湾电影, 作者电影, 侯孝贤, 《刺客聂隐娘》, 东方美学

Abstract:  Hou Hsiaohsien’s films have always demonstrated his unique observation of life, thinking of life and image presentation in an “antimovie” way. To be specific, he prefers tranquility to mobility, silence to words, concreteness to abstractness, China to the West, art to actions, thus making himself “a director without direction”, his cast of films “performers without performance”, and projecting a feature of “causal effects without plots”. His unique style and image narrative grammar is developed as a result of not only the director’s life experiences, life understanding and aesthetic taste, but also the director’s view of the nature of movie, and still more, the unique mode of thinking of the Chinese nation in which the director is nurtured and the way Oriental culture perceives and understands life. Therefore, Hou’s films are featured with humanistic care characterized by strong personal style and image expressions imbued with oriental aesthetic implications, thus winning him an adorable place in the world film history.
Key words：

Key words: Taiwan film, Auteur Film, Hou Hsiaohsien, The Assassin, oriental aesthetics