國家文藝體制下的臺港電影敘事：以1960年代《星星月亮太陽》、《街頭巷尾》、《養鴨人家》為探討範圍

Taiwanese-Hong Kong Film Narratives under National Literary: From the 1960s Cases of Sun, Moon, Star, Our Neighbor, and Beautiful Duckling

歷來探討臺港電影，國家文藝體制下的臺港電影敘事及場域操作較少論及。中華民國在臺灣以國家文藝體制介入香港電影製片始於1953年「港九電影戲劇事業自由總會」成立，及至1960年代中國大躍進、文革運動不斷進而鎖國，導致國片市場重心轉移，臺灣趁此祭出文藝政策獎勵辦法，拉攏港九影業。鑑於當時港臺文化交流密切，本文因此有意以電影交流為前提，探討臺港電影國家文藝體制下的敘事策略，主要側重1960年代具國家文藝體制敘事色彩與交流成分的香港《星星月亮太陽》（1962）及臺灣《街頭巷尾》（1963）、《養鴨人家》（1965）。電影理論學者大衛．波德維爾（David Bordwell）有言「敘事是人類把握世界一個基本的途徑」，據此先行爬梳敘事對內部結構的形式掌握，即文本內緣的「怎麼講」，再結合影片文本外緣「講什麼、講了哪些」要素，便可釐清電影敘事的操作成分。在此論點的基礎上，本文分兩步驟進行論證國家文藝體制下的臺港電影敘事，首先梳理60年代國家文藝體制下的臺港電影交流模式，接著析證《星星月亮太陽》、《街頭巷尾》、《養鴨人家》影片敘事如何貼近國家文藝政策並兼顧自主性與藝術性。

The current research on the Hong Kong-Taiwanese films has not fully studied the films in the realm of narrative strategies under the influence of literary and artistic institution. It is since 1953, the Hong Kong-Kowloon Film Freedom Association had been established as a means of how ROC (Taiwan) intervened with the film productions in Hong Kong. While the Great Leap Forward and the Cultural Revolution during the 60s resulted in China”s isolation and the shifts in the national film market, Taiwan has been adopted literary and artistic rewards strategies to influence the Hong Kong film production. Given the intense Taiwan-Hong Kong cultural interaction then, the project studies how the Taiwanese-Hong Kong narrative strategies of the film had been developed with the effects of institutions. This paper will discuss three movies-from the Hong Kong movie Sun, Moon and Star (1962) to two Taiwanese movies Our Neighbor (1963) and Beautiful Duckling (1965), works produced with the narrative styles and cultural interactions which show the influence of national literary and artistic institutions in the 60s. Through to the viewpoint of David Bordwell, in which “narrative serves as a means of thinking of the world and creating a text” have been explained. Through this application, narrative shows how a text relates to external reality in its internal structure: with the clues of “look through,” “how,” and “what.” those questions do not only helps us to read a text”s agency, style, plot and relation with reality; they also examined the logic of experience in narrative. With these issues, the project consists of two parts: firstly, to review the film interaction between Taiwan and Hong Kong under the influence of literary and artistic institution in the 60s. Secondly, to explain how the film narrative of the three movies reflects institutional strategies.