電影／藝術：尚–盧．高達、侯孝賢與蔡明亮之電影中藝術作品的挪用

Abstract

於本論文中，本人透過尚–盧．高達的《激情》（1982）、《芳名卡門》（1983）、《李爾王》（1987）侯孝賢的《紅氣球》（2007）與蔡明亮的《臉》（2009）重探電影中挪用西洋古典藝術作品此一議題，並偏重探討其中歷史的面向。本文意圖顯示這些電影中的西洋古典藝術作品如何增加我們對於電影、藝術、歷史三者之間關係的認識。本文主張高達的《激情》、《芳名卡門》、《李爾王》三部片，透過對於繪畫、古典音樂、文學成規的形式化挪用，而呈現出一種後現代的傾向。然而在《電影史》中，高達企圖追求一種以蒙太奇的電影史學史來面對歷史的不可能，該作品因此體現一種否定的現代主義精神。另外，在侯孝賢與蔡明亮這兩部攝於全球化、跨國脈絡下的電影中，二位導演皆採用跨文化記憶與想望的策略展開其對於藝術作品的挪用。是以本論文一方面深入研究電影中對於西洋古典藝術作品的挪用，另一方面也提供高達1980年代作品、《電影史》以及兩部侯孝賢與蔡明亮相對近期作品可能的連結。

In this thesis, I revisit the issue of the appropriation of works of the classical Western arts—painting, music, and literature—in Jean-Luc Godard’s Passion (1982), Prénom : Carmen (First Name: Carmen, 1983), King Lear (1987), Histoire(s) du cinéma (1988-1998), Hou Hsiao-hsien’s Le voyage du ballon rouge (Flight of the Red Balloon, 2007) and Tsai Ming-liang’s Visage (Face, 2009) with an emphasis on the history. I intend to show how the appropriating classical Western arts contribute to our understanding of the relation between cinema, art and history in these films. First, I argue that Passion, First Name: Carmen, and King Lear in general demonstrate a postmodern tendency through Godard’s appropriations of the formal conventions of painting, classical music, and literature. However, in Histoire(s) du cinéma, Godard pursues a cine-historiography of montage that tackles the impossibility of the history. Thus the work embodies a negative modernist spirit. As to the works of Hou and Tsai, these two Taiwan-based filmmakers employ the strategies of cross-cultural remembrance and sentiment of longing in their appropriations of artworks in these two films made in a globalized, transnational context. Therefore, this thesis on the one hand offers an understanding of the cinematic appropriation of the works of the classical Western arts. One the other hand, it also provides a possible connection between Godard’s feature films in the 1980s, his Histoire(s) du cinéma, and these two relatively recent works of Hou and Tsai.