日本偶像劇在臺灣之衍異──論成英姝《恐怖偶像劇》之跨媒介互文性

The Cross-Media Intertextuality in Chen Ying-shu's Horror Idol Drama: Variations on A Theme of Japanese TV Idol Drama in Taiwan

新生代女作家成英姝一向刻意採取疏離的筆調，營造黑色幽默之情境，如《公主徹夜未眠》、《好女孩不做》，以冷淡、抽離的基調，暗諷性別傳統體制造成女性的荒謬困境。成英姝於2001年6月到2002年5月《中國時報》的《三少四壯集》專欄發表一系列極短篇小說，其書寫策略乃改寫1994年至2002年在臺灣播映的日本偶像劇，每篇約1,500字，共35篇，後集結成書。書名為《恐怖偶像劇》，由命名即知它延續成英姝擅長的荒謬書寫，將偶像劇中為人津津樂道的浪漫夢幻元素，以黑色幽默的筆法轉變為超現實的恐怖。本文主要探討成英姝如何透過改寫眾人耳熟能詳的偶像劇，提出一種新文本，以黑色幽默喜劇為基調，選取具通俗性又結構嚴謹的日本偶像劇進行改編，賦予時代新義，形構恐怖魅影，勾勒出後現代性的解構意涵，卻又不失趣味。文本的挑選經過作者有意識的戲仿、拼貼、虛擬，表現出其所寄託的解構思維，同時又召喚讀者經典日本偶像劇記憶，形成一新耳目的書寫形態。透過對《恐怖偶像劇》裏改編之日本偶像劇文本與臺灣小說書寫策略探析，一則探索跨媒介文本衍異之互文性議題，再者透過偶像劇文本的再創作與衍異，管窺臺灣風靡日本偶像劇的現象，以及當代臺日通俗文化與後現代思潮之互涉。 Cheng Ying-shu, a female writer of the new generation, has always deliberately adopted a detached style of storytelling to create a black humor atmosphere in her works. Her books like Princess Up All Night and Good Girls don't Do, with a cool, detached tone, ridiculed women's absurd circumstance caused by the traditional gender system. Cheng published a series of 35 flash fictions, with 1,500 words each, in China Times from June 2001 to May 2002 and later assembled them into a book named Horror Idol Drama. Her writing strategy was to rewrite several renowned Japanese idol dramas which were broadcast by TV channels in Taiwan from 1994 to 2002. The title of this book suggests that it is a continuation of Cheng's adept sarcastic writing style and she did transform the romantic and dreamy elements of the idol dramas into a surreal terror with black humor. This article discusses how Cheng Ying-shu created a new literary text by selecting and rewriting some of the most familiar and popular Japanese television idol dramas. These adaptations are basically black comedies which transform the structurally well designed original stories into contemporary horrific phantoms. They represent the deconstructive nature of postmodernity and sacrifice no pleasant experience of reading. By consciously adopting parody and collage in her writing, Cheng used these selected classic dramas to summon readers' memories to them, but at the same time to deconstruct the whole plots. Through the analysis of Horror Idol Drama and the writing strategies of Taiwanese fictions, the researcher explores the intertextual issues of cross-media text differentiation, and then explores the cultural exchanges between Taiwan and Japan, and the intertextuality of Taiwan's contemporary popular culture and post-modern theories.

Cheng Ying-shu, a female writer of the new generation, has always deliberately adopted a detached style of storytelling to create a black humor atmosphere in her works. Her books like Princess Up All Night and Good Girls don't Do, with a cool, detached tone, ridiculed women's absurd circumstance caused by the traditional gender system. Cheng published a series of 35 flash fictions, with 1,500 words each, in China Times from June 2001 to May 2002 and later assembled them into a book named Horror Idol Drama. Her writing strategy was to rewrite several renowned Japanese idol dramas which were broadcast by TV channels in Taiwan from 1994 to 2002. The title of this book suggests that it is a continuation of Cheng's adept sarcastic writing style and she did transform the romantic and dreamy elements of the idol dramas into a surreal terror with black humor. This article discusses how Cheng Ying-shu created a new literary text by selecting and rewriting some of the most familiar and popular Japanese television idol dramas. These adaptations are basically black comedies which transform the structurally well designed original stories into contemporary horrific phantoms. They represent the deconstructive nature of postmodernity and sacrifice no pleasant experience of reading. By consciously adopting parody and collage in her writing, Cheng used these selected classic dramas to summon readers' memories to them, but at the same time to deconstruct the whole plots. Through the analysis of Horror Idol Drama and the writing strategies of Taiwanese fictions, the researcher explores the intertextual issues of cross-media text differentiation, and then explores the cultural exchanges between Taiwan and Japan, and the intertextuality of Taiwan's contemporary popular culture and post-modern theories.