重探改編自傷痕文學的反共電影──兼論八○年代兩岸文學電影的歷史交錯與攻防對應

Reinvestigation of the Anti-CommunistFilms, the Adaptations of the Scar Literature:With the Attack-Defense Confrontation and the Historical Interlock inthe 80th Cross-Strait Literature Film

八○年代初台灣三部反共電影，改編自大陸備受爭議且在當地禁演的傷痕文學劇本，皆強化了原劇作的批判性，且突破五○年代以降反共電影的限制。《假如我是真的》將諷刺喜劇轉為控訴悲劇，《苦戀》強化對國共兩黨的批判，導演王童隨即轉向拍攝台灣新電影，台灣電影史上從「後反共」到「新電影」，從想像異域到建構本土，形成了微妙的歷史交接。王菊金《上海社會檔案》將色情和暴力暗渡陳倉，讓已趨於末流的反共電影搭接上社會寫實片的源流。中共改編林海音《城南舊事》作為以「懷鄉」抵制「反共」的文化作戰利器。同時期大陸改編自文革題材小說的電影結局多朝向光明希望，迥異於台灣反共電影之控訴與悲愴，僅少數作品如秦志鈺改編自陳若曦〈耿爾在北京〉的電影《失戀者》，風格含蓄蒼涼。從而可見兩岸政策和意識形態對電影發展產生的深遠影響，與創作者試圖突破重圍的努力。

In the start of 80th, we had three Taiwanese anti-communist films, adapted fromthe most controversy Chinese scar literature screenplays that even forbidden to be shownin China. Those not only intensified the criticism parts in the original screenplays, butalso surmounted the limitation of anti-communist film in the 50th. It turned the movieIf I were for real from the ironic comedy to accused tragedy. In the movie portrait of aFanatic, it strengthened the criticism between the Nationalist and the Communist. Afterthat, the director, Wang Tung, started to make the Taiwanese new-style movies. Frompost anti-communist to New Cinema and from the imaginational area to the homelandbuilt up, it developed subtle historical interlock in the history of Taiwanese movies. Themovie On the Society File of Shanghai, directed by Wang Chu-Chi, brought the sex andviolent into the movie secretly and gave the faded anti-communist film the opportunityto connect with the social realist film. Chinese communist attempted to regard thehomesick consciousness in the adaptation of Lin Hai Yin’s book My Memories of OldBeijing as a tool to resist cultural battle of “anti-communist.” Unlike the complaint andgrief ending in the Taiwanese anti-communist films, most adaptations of the subjectmatter of the Cultural Revolution in China at the same period intended to have positive ending with only a few works representing the subtle and desolation style such as ZhiyuQin’s adaptation of Ruoxi Chen’s “Keng Erh in Peking” in Shi lian zhe. Through theseworks, we can see the cross-strait policy and ideology did have significant impacts in thedevelopment of movies, and the efforts of creators trying to breakthrough the siege.