超文本；超媒體與超真實的另類莎劇電影：《魔法師寶典》

An Alternative Shakespeare Film of Hypertext, Hypermedia, and Hyperreality: The Prospero’s Books

莎士比亞電影在二十世紀末（1990-2000年）進入了百家爭鳴的創作黃金期。其中，影評人一致認為最迷人也最富爭論的莎片就是格林納威於1991年所執導的《魔法師寶典》（改編自莎士比亞的《暴風雨》名劇）。導演格林納威用《暴風雨》來思考：「如果莎士比亞身處在電腦高科技時代，《暴風雨》會是怎麼樣的面貌？」以此為出發點，本文的研究目的是挖掘：（一）格林納威是如何在《魔》片中以「超文本」的「非線性」敘事手法，來對抗好萊塢式的傳統電影說故事模式？（二）畫家出身又精於媒體科技的格林納威是如何在本片中實驗「框中框」與「多框併置」等手法，打破傳統電影單一視窗的觀影邏輯？（三）導演如何在《魔》片中運用「擬仿」技術，從而創造出「超真實」的奇幻效果？藉由上述三個議題之分析，筆者企圖解碼格林納威的《魔法師寶典》如何結合了超文本；超媒體與超真實成為二十世紀末電腦時代非常另類的莎劇電影。

Shakespearean films entered a golden period of booming creativity at the end of the twentieth century (1990-2000). Film critics have agreed that the most fascinating and controversial Shakespearean film was Prospero’s Books, directed by Peter Greenaway in 1991 (Prospero’s Books was adapted from Shakespeare’s play, The Tempest). Greenaway uses The Tempest to consider:“If Shakespeare lived in the age of high-tech computers, what would The Tempest look like?”Taking this as a starting point, the purpose of this paper is to explore: (1) How does Greenaway use“non-linear”narrative techniques of the“hypertext”in Prospero’s Books to challenge the Hollywood-style conventional storytelling mode in films? (2) How does Greenaway, a painter and media tech savvy, experiment with frames-within-frames and multi-frame juxtapositions in Prospero’s Books, to disrupt the traditional logic of film viewing through a single window? (3) How does the director use“simulation”techniques in Prospero’s Books to create the fantasy effect of“hyperreality”? Based on the analysis of the above three issues, this paper aims to decode how Greenaway’s Prospero’s Books combines hypertext, hypermedia and hyperreality to strike as an alternative Shakespeare film in the computer age at the end of the twentieth century.