「新亞洲電影」的打造與拆解

Constructing and deconstructing the 'New Asian Cinema'

2005年以來，東亞電影市場陸續出現了幾部中、港、日、韓跨國合製的電影如「七劍」、「無極」和「墨攻」等。這些電影結合東亞各國電影產業、人力和知名明星，製作預算相對極高，並以武術動作為核心元素的武俠、奇幻或歷史的電影類型訴求於亞洲甚至是全球的電影市場。更重要的是，這些合製電影帶來了一種相對新的、具體的「亞洲電影」（Asian Cinema）想像和實踐，這不僅是指產業經濟面向上的，也包括了電影文化和美學，並且牽涉到關於亞洲文化和亞洲認同的建構或重構。本文以上述三部「新亞洲電影」為分析個案，探討其生產與行銷模式、文本故事與風格，以及其中的「亞洲」意涵。本文結論指出，「新亞洲電影」作為亞洲主要電影產業共同打造用以與好萊塢競爭的新電影產品，一方面反映出當前亞洲政治經濟與文化的動態，另一方面仍是以好萊塢為最主要參照對象的結果。

Several international co-production films among China, Hong Kong, Japan and South Korea have been produced since 2005, including Seven Swards, The Promise, and The Battle of Wits. These productions are the result of the integration of major East Asian film industries, filmmakers, famous popular stars and comparatively very high level of budget. These films are all about martial art or using martial art elements as the central feature which is oriented for the entire Asia and even the global film market. More importantly, these co-production films demonstrated a relatively new and concrete imagination and practice of 'Asian Cinema'. This not only refers to the industrial and economic dimension but also to film culture and aesthetics and it is related to the construction or reconstruction of the Asian Culture and Asian Identity as well. This paper focus on three films mentioned as a case study and to examine their production and marketing patterns, stories and styles, as well as the meaning of 'Asia' in the texts.