姚鳳磐鬼片電影恐怖空間之現代性異議

Horror Spaces and Contested Modernity in Yao Feng-pan’s Ghost Films

姚鳳磐為1970年代重要的臺灣恐怖片導演，他突破當時改編自古典文學作品的恐怖片形式，以時裝鬼片開啟臺灣恐怖片的新時代。本文以《鬼嫁》（1974）為例，探討姚鳳磐如何透過電影空間的運用對1970年代到1980年代臺灣都市發展進行批判，並反映當時社會環境與家庭關係變化。姚鳳磐電影常處理土地開發惹怒鬼魂的議題，藉由象徵歷史傳統的鬼魅反撲社會對現代化的追求。另一方面，鬧鬼的家庭場景也是姚鳳磐的恐怖核心，在姚鳳磐的電影中，家庭空間顛覆傳統庇護所形象，成為「陰性怪物」對抗現代社會所強調的西化、理性、以及秩序的場域。

Yao Feng-pan is one of the most important horror film directors in Taiwan during the 1970s. He breaks away from his contemporaries, who follow the tradition of adapting from classical Chinese ghost stories, to start a new epoch of horror films with modern setting. Using the example of Ghost Marriage (1974), the paper investigates Yao Feng- Pan’s use of space in critiquing the society’s rapid transformation from the 1970s to the 1980s. Vengeful ghosts infuriated by land development in the human world is a recurrent theme in Yao Feng-pan’s films, and it reveals the director’s discontent of the society’s pursuit of modernity and progress. The haunted house is also at the center of Yao Fengpan’s horror films. In his works, the domestic space challenges its traditional image as a sanctuary and is often transformed into the place where the “monstrous feminine” counters westernization, rationality, and social order.