片場裡的隨創者——胡金銓與1960年代的邵氏新派武俠片

King Hu and the Shaw Brothers' ＂New＂ Style Martial Arts Films of the 1960s: A Bricoleur in the Film Studios

香港邵氏電影公司在1965年推展新派武俠片，當時致力革新此一片種的主要導演有徐增宏、張徹與胡金銓。其中號稱武俠片宗師的張徹，畢生幾以邵氏片場為拍片基地；而胡金銓在拍攝完《大醉俠》（1965）之後，便赴臺加入聯邦電影公司製作《龍門客棧》（1967），該片之完成係仰賴外搭景和臨時攝影棚，並未使用新建成之大湳片場。本文認為胡金銓對電影美術設計的要求與同時期邵氏武俠電影導演有著極大差異，並顯著地表現在下列兩個面向。一方面，有別於邵氏片場將美術設計視為消耗品，他對道具物件挪用的設計，改變了道具作為片場財產的呆板用途，而以遊戲的方式操弄這些道具符號。另一方面，胡金銓安排劇中人物以隨創方式製作機關陷阱，解構了邵氏武俠電影慣用之機關場景，因而帶有顛覆性的實踐的意義。本文最後將指出，胡金銓抗拒強勢主導的片場制度的態度，與其對常民藝術與活動的偏好，乃至於他對當代中國政治的反思，實有其內在之關聯性。

In 1965, Shaw Brothers (Hong Kong) Ltd. initiated a new style of martial arts films which revolutionized the genre. Directors such as Xu Zenghong, Zhang Che, and King Hu were the leading contributors that developed this emerging film genre. Zhang Che, the so-called old master of the martial arts movie, became well-known for his long and productive career producing films with the Shaw Brothers. On the other hand, King Hu seemed unenthusiastic about making movies in any established film studio. After his success with Come Drink with Me (1965), Hu left Hong Kong for Taiwan's Union Film and directed Dragon Gate Inn (1967). However, instead of filming in the newly-built Danang Studio, Taoyuan, Hu shot most of the scenes in outside set constructions and temporary studios. This paper examines the very different approaches to production designs in 1960s martial arts films by King Hu and the Shaw Brothers Studio. First, unlike the purpose-built Shaw Brothers Studios which used props and sets as expendable and disposable objects, Hu adopted a ＂free-play＂ approach that appropriated the original meanings and intended usage of these same studio props. Second, there existed a seeming distinction between Hu's bricoleurs laying booby traps and the Shaw Studios' engineers constructing various kinds of mantraps. Hu's concept of bricolage can thus be deemed as subversive practices in opposition to the dazzling mass-produced, yet homogeneous death traps by Shaw Studios. Furthermore, this research suggests that Hu's resistance to the globalizing film industry was parallel to his lifelong concern for ordinary people's arts and everyday culture as well as to his revulsion against totalitarian power in contemporary Chinese politics.