王家衛電影中的南方轉向

Southern Orientations in Wong Kar-wai’s Movies

本論文以王家衛電影中的「南方」符號或指涉為核心，討論他的十部長片如何以「南方轉向」作為敘事策略，透過方向的改變牽引故事、人物的轉向，以及意義的指向。在不同作品中，不同指涉「南方」的地點代表了不同的價值，施展不同的作用，王家衛因「片」制宜，建構不同的意義。本論文分五個部分，討論「南方轉向」：1.《阿飛正傳》等六部王家衛作品中，南方轉向的移位明顯，南方符號扮演重要轉折的樞紐，本文稱之為「南方支點」系列，並詳細分析此六部電影的轉向意義；2.《旺角卡門》等四部王家衛作品中的南方指涉比較隱晦，本文稱之為「南方隱喻」系列，並詮釋它們的暗示；3. 本文第三部分運用有限篇幅耙梳文學與文化理論中的「南方論述」，並將之與王家衛電影的南方傾向，做出連結，希望透過比較與對照，幫助理解電影中的「南方轉向」；4. 第四部分說明「轉向的意義，意義的轉向」；5. 最後，以討論王家衛「再度南方」的策略作為結語。

This article aims to investigate the strategy of ＂southern orientations＂ deployed in Wong Kar-wai's feature films, up to The Grandmaster of 2013. Generally a ＂turn＂ to the south, in the form of displacement to a southern location in cinematic spatial arrangements, is invoked when Wong's movie needs a resolution to the dilemma posed to his protagonists. For the purpose of analysis, Wong's movies are divided into two groups in terms of the question of the south: those in which the turn to the south or southern orientation is prominent and plays a crucial role in the trajectory of the story, as in Days of Being Wild and 5 others, and those in which the turn to the south is less outstanding or even negligible, as in Chungking Express and 3 others. In the first group, the turn to the south serves as a pivot, while in the second group, it works metaphorically and tangentially. The article proceeds to explore the different significance, values, and effects of different ＂southern orientations＂ in Wong Kar-wai's movies in the context of a general discussion of the meaning of the south as well as the strategy of the ＂turn,＂ in relation to the particular deployment in each of his movies