城市與性別的雙重鏡像－－關錦鵬懷舊電影與原文本的參差對位

Double Mirror Images of City and Gender: The Irregular Contrast between the Nostalgic Films by Stanley Kwan and Their Hypotexts

關錦鵬懷舊電影《胭脂扣》、《阮玲玉》、《長恨歌》都藉女性個體生命與情感起落，指涉城市歷史的變遷，並以海派╱張派小說或上海老電影為底本，加以轉化與變異。《胭脂扣》淒迷唯美的風格蓋過李碧華原著的諷喻意味，添加性別認同凌駕原文本的國族認同。《阮玲玉》淡化左翼電影的批判控訴，透過鏡像般的人物對映關係，將港滬今昔相映照。近作《長恨歌》削弱王安憶原著末了無產階級興起的意旨，在懷舊風貌下寓含香港觀點。三部電影的國族意識愈趨鮮明，並藉由深情典麗的舊時代女性，投射導演的陰柔性情與身份認同，呈現城市與性別的雙重鏡像。

Nostalgic films such as ＂Rouge, Center Stage＂ and ＂Everlasting Regret＂ directed by Stanley Kwan and based on novels by the Shanghai-style literature/followers of Eileen Chang or the old Shanghai films, illustrate the historical transformation of cities by using the turbulent lives and emotions of individual female characters as analogies. The melancholic and aesthetic style of the film ＂Rouge＂ overshadows the sarcastic tone of the hypotext by Lilian Lee, with gender identity in the former overriding national identity in the latter. ＂Center Stage＂ weakens the critical charge of left-wing films focusing on similar heroines, as it mirrors the past and present of Shanghai and Hong Kong through corresponding relationships of roles in the film. The recent work, ＂Everlasting Regret＂, weakens the implications of the proletariat's rising in the hypotext by An-yi Wang, and presents the perspective of Hong Kong in a nostalgic manner. All three films ultimately reveal national consciousness and demonstrate Kwan's ability to depict and identify with the female temperament; they elicit images of cities and convey gender identity through portrayal of time-honored affectionate and elegant female roles in history.