沉默暴力：張作驥電影中的暴力意涵

The Silent Violence: Connotations of Violence in Chang Tso-chi's Films

張作驥向來被視為新電影時代之後最具獨到風格的電影作者之一，綜觀張作驥的作品，其重要特色乃是以幫派與邊緣族群為敘事主軸，呈現出以寫實手法為基調的象徵性時代現實。張作驥本人曾以「沉默暴力」一詞形容自己的暴力風格，呈現著社會底層的邊緣人在種種壓迫下只能以靜默隱忍面對生命的磨難。本文旨在深入探究張作驥「沉默暴力」的影像展現與敘事象徵，聚焦於《忠仔》（1996）與《黑暗之光》（1999）兩部作品，分析其暴力再現透過主觀鏡頭、正反鏡頭、黑幕及遠近景跳接等手法，以情緒的斷裂與失措，展現角色複雜的心理層次與內外在對比的心理衝突，更由此揭示出了主導全片意涵的社會批判。本文最後指出，張作驥暴力影像的跳接與抽離，有異於新電影的一貫疏離手法，一方面展現片中角色沉默隱忍的心理層次，另一方面更是突顯著外在世界對於角色的種種磨難。 Chang Tso-chi has been regarded as one of the most significant film auteurs with signature styles in the post-Taiwan New Cinema era. The shared emphasis of Chang's film is the symbolic realism on contemporary society through the struggles of gangs and the marginalized. “Silent violence” is what Chang describes his unique cinematic style on violence, by which the silent tolerance and persistence of the marginalized are expressed under multiple social oppression. This essay intends to analyze the narrative connotations and the cinematic representations of Chang's “silent violence” by focusing on Chang's two films in the 1990s: Ah Chung (1996) and Darkness and Light (1999). Through investigating how the mélange of cinematic techniques, including subjective point-of-view shot, shot-countershot, black screen and jump-cuts between long- and short-distance shots, demonstrates the complex and contrasting visceral conflicts of the protagonists, this essay suggests the social critiques dominating these two films are revealed through the oppressed silence in violent scenes. The conclusion further argues that the jump-cuts and withdrawal style of the violent representations of Chang Tso-chi, different from the persistent alienation of Taiwan New Cinema, demonstrate layered psyche of silence in contrast to the vicious society.