| 中文摘要 |
當忠於原著與否，成為評價文學改編電影的首要標準，文學顯得高高在上，越界轉譯的電影永遠驅趕於後。「攝影機鋼筆論」與「作者論」的提出，將電影導演提升到與文學作者等藝術家同樣的位階，電影符號學所著重的電影語言、語法分析，也讓電影回復其影音藝術之本質，這些理論讓電影脫離文學附庸的位置。立基於此，本文試圖討論翻拍張愛玲文學成敗的原因，並探討許鞍華如何以電影語言轉化張愛玲的《半生緣》，電影語碼能否達到景觀即意義，符徵與符旨沒有距離的效果。本文將影視畫面當成文本，剖析畫面構圖、攝影機掌鏡運用帶出來的敘事美學，當影音構圖成為文本，蒙太奇成為書寫工具，觀眾必須要能「讀」出導演的匠心獨運。
When faithfulness to the original literary work stands as the criterion in evaluating the adapted film, literature is always regarded higher than the film. The appearance of 'Camera stylo' and 'Auteur theory' elevates the status of film directors to the same level as writers and artists. 'Le cinema-langage' and the analysis of film syntaxalso bring back the visual-audio nature of the film. These theories help film to get rid of the dependence on literature. Based on these facts, the author tries in the article to look into the reasons why and how Ai-ling Chang's literary work is transformed into the movie, and evaluate whether it is a success or failure. In addition, this article also discusses how Ann Hui uses 'le cinema-langage' to make Eighteen Springs of Ai-ling Chang into film, and whether or not 'Je cinema-langage' can make the scene to present the meaning and make the signifier and signified as one. This article takes the visual images as texte, analyzing composition of the scenes and the storytelling and how they are combined to form an aesthetics in light of the camera lens. When pictures and sounds become the texte and montage is developed into a narrating device, the audience should be able to read the presentation so as to grasp its real meanings as intended by the film director. |
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