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題名:今村昌平的原始人性論:底層日本的非官方詮釋-早期作品及《楢山節考》深論
作者:陳家倩
作者(外文):Sara Chia-Chien Chen
校院名稱:輔仁大學
系所名稱:跨文化研究所比較文學博士班
指導教授:陳儒修
學位類別:博士
出版日期:2011
主題關鍵詞:日本電影今村昌平Japanese CinemaImamura Shohei
原始連結:連回原系統網址new window
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今村昌平崛起於1960年代前後的日本電影新浪潮期間,使他成為該電影運動的重要旗手之一,不過他的作品風格跟其他新浪潮導演有不少相異之處,顯示他不跟隨潮流的性格及及他在新浪潮中的特殊性。
今村的作品一向以低下階層的庶民生活為中心,細膩地刻畫人性,寫實地描繪人物受到本能慾望驅策的生存方式。他的創作興趣在於「人的下半身及社會的低下階層」,因此性和底層生活成為貫徹他全數作品的重要觀念,而這正可反映出其原始人性的論述。他像人類學家或昆蟲學家般仔細地觀察他的人物,著眼於日常細節,揭露慾望衍生出的各種人性對立、矛盾、衝突、掙扎,風格冷峻地刻劃日本人在性、女性、生存、命運、戰爭、傳統、價值觀、真實性、身份認同、現代化衝擊、新舊文化衝突等層面上的特點,挖掘日本文化獨特的生死觀、原始性、劣根性、性文化等,至於動物意象徵的隱喻更令人留下強烈的印象。
今村的作品明顯具有日本性(Japaneseness),不過又與前代傳統日本電影中的官方日本性背道而馳。他作品中呈現的日本底層社會和人民與一般人(尤其外國人)對於日本民族的印象和認知有極大的差距,然而這種非官方表述可能才代表「真實的」日本,也才是真正瞭解原始人性和日本民族性的最佳方式。他逼視人性的底線,描寫在貧困環境中打滾的日本人,但他的意圖絕非貶低或批評這些低下階層人民,而是想展現日本的民族性格和庶民活力,肯定人類的生命力和生存意志。
本論文將聚焦於今村於1958-1966年發行的8部早期作品,主要原因是今村在1983年金棕櫚獎得獎作《楢山節考》之前的電影在中文界鮮少人知,所以今村的中文評論大多集中在這部國際代表作之後的電影,使得今村早期作品的相關資料相對而言十分短缺,以作者軌跡觀之呈現一大段分析斷層,因此補齊前段研究的空白可幫助建構前後一貫的作者論,對這位導演的中文論述極具研究貢獻。事實上,今村的早期作品最能表現出其畢生創作宗旨的原始人性及底層日本議題,顯然已豎立其未來的創作方向,並奠定其關心重點和美學風格,可謂為主題確立和作者建立之作,而基於這些前期研究成果也可使今村作品的後續研究更有所根據。
除了8部早期黑白電影,本論文會另外探討相隔17年後的《楢山節考》,不僅因為這是今村最為人所知的國際代表作,主要原因是這部電影可視為今村原始人性議題發揮地最淋漓盡致的作品,對本研究的重要性不容小覷,將有助於深入本論文題旨的原始人性論,強化本能慾望和底層社會議題,同時彩色畫面的效果也更能突顯動物意象和露骨性愛的寫實呈現。
本論文是針對日本電影與日本歷史、社會、文化和民族性等範疇之間進行思考,探討今村作品中構建出的作者特色,同時參照東方和西方的電影或文化理論,並引用各家論點佐證,以跨學科研究的宏觀角度出發,實屬立足於比較文學研究的性質。理論基礎著重於文化人類學和紀爾茲(Clifford Geertz)的深描說(thick description)理論,也會應用其他電影分析、電影評論、日本電影、日本文化等各方面的相關論述;研究方法會採用文本分析,並基於作者論的立場,而且除了以西方學說為重要基礎,還會加入東方論述和文化評論。
在進入論文主體的今村作品研究前,會先探討日本電影研究的相關文獻,從大概念到小概念,闡明幾位東西方電影學者的代表性著作;然後綜觀今村各個時期的創作脈絡;接著進入論文主體,分析今村早期8部電影及《楢山節考》,探索今村作品中的一貫主題和整體風格,解讀文本中的故事內容和象徵母題,剖析文本表層和深層結構所呈現的文化內涵,以建立其原始人性論,瞭解其詮釋底層日本的思路和方式,並確立其作品在日本電影脈絡中的特殊性。
今村昌平於2006年5月30日辭世。他的作品始終反映出日本文化中的非官方傳統,呈現日本電影豐富又多元的面貌,實質上極具時代意義。終究,是時代的歷史和社會環境造就了今村,或許他不是最偉大的日本導演,而他留下的電影在世界影壇及對後世的影響力也有待考驗,然而他的作品肯定是電影史上為底層人民發聲的重要遺產。
For many film critics, Imamura Shohei is one of the greatest Japanese filmmakers emerging from the Japanese New Wave Cinema around the 1960s. Unlike Oshima Nagisa and other political filmmakers from the same generation, rather than dedicating himself to more theoretical issues, he assumes an unpretentious tone to embrace a vital and vigorous world. As for Western critics, his significance can be seen as one of the only four directors in the world to win the Golden Palm Award at the Cannes Film Festival twice, with his Ballad of Narayama (1983) and The Eel (1997) respectively.
Imamura seeks to recover the essence of “Japaneseness” through his works and believes Japanese mind is rooted in lower classes. Nevertheless, his discoveries have exposed the underside of Japan, the antithesis of official conventions and Confucianist families in traditional Japanese cinema. He says he wants to make “messy, really human, Japanese, unsettling films.” Accordingly, his body of work reveals a unique interest in ribald, greedy, lustful, deceitful, vicious, vulgar, indomitable yet always strong, vivacious and touching characters. He celebrates everything excluded from refined official world: the irrational, the vulgar, the primitive, the intuitional, the instinctual, the spontaneous, the carnal, and the superstitious life of Japan’s underclass; and he adores people who are not given due social status, such as peasants, prostitutes, pimps, shamans, pornographers, burglars, gangsters, black marketers, criminals, and whatever outcasts or proletarians or loners or misfits.
Imamura is devoted to the concern of “the lower part of the human body and the lower part of the social structure,” a metaphor that can serve as a paradigmatic guide through his films. Therefore, sex and low life can be claimed to be the most important concepts in all his works. The way Imamura looks at his characters is with stringent insights, but never without a certain admiration for them. He worships tenacious working classes of Japan because they retain the wholeness, undefiled by modernization, civilization and hypocrisy. And he takes an anthropological or entomological point of view to delve into daily life of Japanese underworld, where animals, nature and humans are closely interconnected, and this reflects the same essence of primitive human nature.
In this dissertation, Imamura’s eight early films (1958-1966) and Ballad of Narayama are opted for textual analysis. The reason for this selection is that there have been limited scholarship in Chinese language on Imamura’s early works, but in fact those films have elaborated the themes, aesthetics and styles which persist in all his following works. For that matter, a study of Imamura’s early films can contribute greatly to academic results regarding this filmmaker and possibly draw out generic features of his auteurism. Except for these eight films, this research also analyzes Imamura’s milestone work in his film career, Ballad of Narayama. This masterpiece can be specified as his most informative work on the theme of primitive human nature, consequently reinforcing the elements of instinctive desires and lower classes.
Japanese cinema has been distinct in film history with its nativism and nonconformity since its early development. This dissertation also investigates a variety of critical issues which Japanese cinema encounters in diverse aspects such as history, society, tradition, culture, esthetics, ideology and national identity. Moreover, referring to both Eastern and Western methodologies, and citing from different critics’ dissimilar critiques, along with the classification and comparison of Eastern and Western theses on Japanese cinema in Chapter 2, this study can be affirmed as an interdisciplinary research on the basis of the comparative literature perspective with the goal to enlighten more appropriate reading of Japanese cinema without bias or dichotomy based on Orientalism.
Finally, through the textual analysis of Imamura’s works, this dissertation has established the filmmaker’s authorship, and argues that Imamura can be suggested “the very Japanese of Japanese directors,” for he has found his locus in a closeness to a life deep-rooted in the “real” Japan.
I. 西文書目
Anderson, Joseph L., and Donald Richie. The Japanese Film: Art and Industry. 1959. Exp. ed. Princeton: Princeton UP, 1982.
Barrett, Gregory. “Comic Targets and Comic Styles: An Introduction to Japanese Film Comedy.” Reframing Japanese Cinema: Authorship, Genre, History. Eds. Arthur Nollett, Jr. and David Desser. Bloomington: Indiana UP, 1992. 210-266.
---. Translator’s Introduction. Currents in Japanese Cinema. By Sato, Tadao. 1970. Trans. Barrett. Tokyo: Kodansha, 1982.
Bary, Brett de. Rev. of To the Distant Observer, by Noël Burch. Journal of Japanese Studies 8, no. 2 (1982): 410.
Bock, Audie. Japanese Film Directors. 1978. New York: Kodansha, 1985.
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Bordwell, David. “Film Interpretation Revisited.” Film Criticism 17 nos. 2-3 (1993): 113.
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Burch, Noël. To the Distant Observer: Form and Meaning in the Japanese Cinema. Berkeley: U of California P, 1979.
Buruma, Ian. Behind the Mask: On Sexual Demons, Sacred Mothers, Transvestites, Gangsters, Drifters and Other Japanese Cultural Heroes. New York: Pantheon, 1984.
Casebier, Allan. “Images of Irrationality in Modern Japan: The Films of Shohei Imamura.” Quandt, Shohei Imamura. 89-99.
Davis, Darrell William. “Reigniting Japanese Tradition with Hana-Bi.” Cinema Journal 40.4 (2001): 55-80.
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Desser, David. Eros plus Massacre: An Introduction of the Japanese New Wave Cinema. Bloomington: Indiana UP, 1988.
Dupont, Joan. “Two Faces of Kitano: Director Feels at Home in Tragedy or Comedy.” International Herald Tribune 22 May 1999. 20.
Eagleton, Terry. After Theory. London: Allen Lane, 2003.
Ehrlich, Linda. “Erasing and Refocusing: Two Films of the Occupation.” Quandt, Shohei Imamura. 165-77.
Hall, Stuart. “Culture, Community, Nation.” Cultural Studies 7.3 (1993): 353-54.
Hitchcock, Lori. Rev. of Shohei Imamura, ed. James Quandt. Scope. May 2001. U of Nottingham. .
Imamura, Shohei. “Traditions and Influences.” Trans. Stephane Erviel and Mark Cousins. Quandt, Shohei Imamura. 129-31.
Kattoulas, Velisarios. “A Second Flowering of Japanese Filmmaking.” International Herald Tribune 8 July 1997. 20.
Kehr, Dave. “The Last Rising Sun.” Quandt, Shohei Imamura. 69-86.
Kendall, Nigel. “All You Need Is Sex.” guardian.co.uk. 14 Mar. 2002. 31 Mar. 2011. .
Kim, Nelson. “Shohei Imamura.” sense of cinema. June 2003. 31 Mar. 2011. .
Kreisler, Harry. “Conversation with Donald Richie.” Conversations with History. Institute of International Studies, UC Berkeley. 21 Sep. 2001. 31 Mar. 2011. .
Laprévotte, Gilles. “Shohei Imamura: Human, All Too Human.” Trans. Lara Fitzgerald. Quandt, Shohei Imamura. 101-106.
Lardeau, Yann. “The Ballad of Narayama: Ascent to the Beyond.” Trans. Lara Fitzgerald. Quandt, Shohei Imamura. 157-58.
Mellen, Joan. The Waves at Genji’s Door: Japan Through Its Cinema. New York: Pantheon, 1976.
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Nakata, Toichi. “Shohei Imamura Interview.” Trans. Nakata. Quandt, Shohei Imamura. 107-124.
“Notes on Shohei Imamura.” Rev. of Shohei Imamura, ed, James Quandt. Strictly Film School. 26 Jan. 2008. 31 Mar. 2011. .
Oshima, Nagisa. “Interview.” Cahiers du Cinéma 218 (March 1970): 30-34.
Quandt, James, ed. Shohei Imamura. Bloomington: Indiana UP, 1999.
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Phillips, Richard. “Japanese Film Director Shohei Imamura Speaks to the World Socialist Web Site.” World Socialist Web Site. 19 Sep. 2000. 31 Mar. 2011. .
“Pigs and Battleships.” Strictly Film School. 2005. 31 Mar. 2011. .
Rev. of Japanese Cinema: Film Style and National Character, by Donald Richie. The Bioscope. 12 Dec. 2008. 31 Mar. 2011. .
Richie, Donald. A Hundred Years of Japanese Film. 2001. Rev. ed. Tokyo: Kodansha International, 2005.
---. “Japan Makes Great Genres, But ….” Rev. of The Midnight Eye Guide on New Japanese Film, by Tom Mes and Jasper Sharp. The Japanese Times Online. 13 Feb. 2005. 31 Mar. 2011. .
---. Japanese Cinema: Film Style and National Character. New York: Anchor, 1971.
---. “Notes for a Study: On Shohei Imamura.” Quandt, Shohei Imamura. 7-43.
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Rayns, Tony. “SHOHEI IMAMUR: A Masterly Film Director of Post-war Japan Who Was.” The Independent. 1 June 2006. BNET.com. 31 Mar. 2011. .new window
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Tessier, Max, Audie Bock and Ian Buruma. “Shohei Imamura Interview.” Trans. Buruma. Quandt, Shohei Imamura. 57-67.
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“The Insect Woman.” Strictly Film School. 2002. 31 Mar. 2011. .
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Yoshimoto, Mitsuhiro. Kurosawa: Film Studies and Japanese Cinema. Durham: Duke UP, 2000.

II. 中文書目(含翻譯書)
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李幼蒸。《當代西方電影美學思想》。台北:時報,1991。
李永熾。《日本式心靈》。台北:三民,1991。
李勇。《通俗文學理論》。北京:知識,2003。
李達義。《好萊塢、電影、夢工廠》。台北:揚智,2000。
李顯杰。《電影敘事學:理論和實例》。北京:中國電影,2000。
周隽。〈從動物性隱喻看今村昌平電影中的女性形象──以《楢山節考》、《鰻魚》和《紅橋下的暖流》為例〉。《中日影像文化的地平線》。錢態、應雄編。北京:中國電影,2009。
侯克明編。《多維視野:當代日本電影研究》。北京:中國電影,2007。
胡亞敏。《敘事學》。武昌:華中師範大學,1994。
馬新民。《日本文化與現代化》。湯重南編。瀋陽:遼海,1999。
馬廣海。《文化人類學》。濟南:山東大學,2003。
徐立功、井迎瑞、黃建業總編輯。《電影辭典》。台北:電影資料館,1996。
高肖梅。〈三種境界.百般情緒:小津、溝口與山田洋次〉。《電影欣賞》(專題:日本通俗劇)90(1997):20-22。
張昌彥。〈三百年與五十年之間:漫談日本文學與電影〉。《電影欣賞》(專題:日本文學與電影)96(1998):15-22。
───。〈今村昌平之人與作品(上)〉。台灣電影筆記。3 Aug. 2006. 31 Mar. 2011. .
───。〈今村昌平之人與作品(下)〉。台灣電影筆記。4 Aug. 2006. 31 Mar. 2011. .
陳篤忱。〈日本電影〉。中國大百科全書智慧藏。31 Mar. 2011. .
焦雄屏。《法國電影新浪潮》。台北:麥田,2003。
湯禎兆。《日本映畫驚奇︰從大師名匠到法外之徒》。桂林:廣西師範大學,2009。
───。〈低下層與下半身〉。《電影欣賞》98(1999):112-13。
───。《感官世界:游走日本映畫》。台北:萬象,1996。
───。《講演日本映畫》。香港:百老匯電影中心,2003。
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聞天祥。〈三種境界.百般情緒:小津、溝口與山田洋次〉。《電影欣賞》(專題:日本通俗劇)90(1997):30-35。
劉森堯。<棄老-楢山節考現代版>。《中央日報》。副刊。1999年6月22日。
(翻譯書)
Gaudreault, André, and François Jost。《什麼是電影敘事學》(Le Récit Cinématographique)。2000。劉雲舟譯。北京:商務,2007。
Genette, Gérard。《敘事話語/新敘事話語》。王文融譯。北京:中國社會科學出版社,1990。
Geertz, Clifford。《文化的解釋》(The Interpretation of Cultures)。1973。韓莉譯。南京:譯林,2008。
───。《地方知識:詮釋人類學論文集》(Local Knowledge: Further Essays in Interpretive Anthropology)。1983。楊德睿譯。台北:麥田,2007。
Richie, Donald。〈日本電影觀賞:若干必須考慮的問題〉。黎湘萍譯。侯克明編,《多維視野:當代日本電影研究》。28-36。
Stam, Robert。《電影理論解讀》(Film Theory: An Introduction)。陳儒修、郭幼龍譯。台北:遠流,2002。
Tessier, Max。《日本電影導論》(Le Cinéma Japonais: Une Introduction)。1997。謝階明譯。南京:江蘇教育,2007。
山折哲雄。《日本人的宗教意識》。鄭家瑜譯。台北:立緒,2000。
土居健郎。《日本人的心理結構》(『「甘え」の構造』)。1971。閻小妹譯。北京:商務,2007。
小笠原隆夫。《日本戰後電影史》。苗棣等譯。北京:北京廣播學院,2001。
井上靖。〈心的文化〉。《日本人與日本文化》。周世榮譯。北京:中國社會科學,1991。25-30。
中根千枝。〈國際社會中的日本文化〉。《日本人與日本文化》。周世榮譯。北京:中國社會科學,1991。78-84。
四方田犬彥。《日本電影100年》(『日本映画史100年』)2000。王眾一譯。北京:三聯,2006。
吉見俊哉。〈慾望/忘卻「美國」的日本戰後-「基地」與「消費文化」的錯綜關係〉。李文茹譯。《中外文學》31.7(2002):63-90。new window
佐藤忠男。《革命.情慾殘酷物語:大島渚的影像探索》(『大島渚の世界』)。1987。沙鷸譯。台北:萬象,1993。
南博。《日本人論》(『日本人論―明治から今日まで』)。1994。邱琡雯譯。台北:立緒,2003。
深澤七郎。《楢山節考》(『楢山節考』)。吳蕙萍譯。收錄於《楢山節考》。台北:星光,1996。
會田雄次。《日本人的意識構造:風土.歷史.社會》(『日本人の意識構造』)。1972。何慈毅譯。南京:南京大學,2008。

III. 日文書目
山本八州男、友田二郎。「楢山節考:お山まいりは辛うござんす-特集2撮影日誌」。『キネマ旬報』(1983年5月上旬):51-54。
大島渚。『大島渚1960』。東京:青土社,1993。
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