朝向多重寫實性：論林龍吟《蚵豐村》中臺灣新電影寫實主義美學的承繼與轉化

Toward Multiple Forms of Realisticity Continuing and Altering the Realist Aesthetics of the Taiwan New Cinema in Lim Lung-yin’s Ohong Village

本文透過對於從臺灣新電影到「後－新電影」寫實主義美學的再思考，探究臺灣新世代導演林龍吟以十六釐米膠卷所拍攝的《蚵豐村》（2019），如何於電影美學及影像風格層面展現與臺灣新電影的延續與轉化關係。本文以巴贊式的寫實主義和普林斯所提出的「感知寫實主義」為思考框架，嘗試指出，《蚵豐村》一方面承繼了臺灣新電影的巴贊式寫實主義美學傳統；而另一方面，同時又藉由揉雜多重寫實性的影像創置，結合3D後製影像的組構，在數位影像時代體現了感知寫實主義，而進一步轉化原有的臺灣新電影寫實主義美學，在臺灣「後－新電影」世代構建嶄新而具異質性的寫實主義美學路徑。

By reconsidering the realist aesthetics from the Taiwan New Cinema to “postNew Cinema,” this article focuses on new-generation Taiwanese filmmaker Lim Lung-yin’s Ohong Village (2019), which is shot on 16mm film, and explores how this film both continues and alters the cinematic and aesthetic styles of the Taiwan New Cinema. Drawing on Bazinian realism and the concept of “perceptual realism” proposed by Stephen Prince, this article argues that Ohong Village has inherited the tradition of Bazinian realist aesthetics from the Taiwan New Cinema on the one hand. At the same time, by hybridizing multiple forms of realisticity with the combination of 3D post-production in the configuration of images, the film also embodies the so-called perceptual realism in the age of digital images, and further transforms the original realist aesthetics from the Taiwan New Cinema. Such practice constructs a new route of realist aesthetics with heterogeneity in the “post-New Cinema” era of Taiwan’s cinema.