本計畫擬對於侯孝賢三十餘年來的電影作品（含編劇）如何呈現現代都市進行探討。台灣新電影時期以來堪稱最重要的導演侯孝賢以長鏡頭美學受到國際影壇矚目，這個美學風格在呈現台灣現代化歷程中的鄉村家庭空間（如《冬冬的假期》、《童年往事》與《戀戀風塵》）以及政治歷史時間（如被稱為台灣三部曲的《悲情城市》、《戲夢人生》與《好男好女》）的刻劃上有絕佳的呈現，成為侯孝賢十分獨特的電影語言。在電影主題上，侯孝賢九０年代中期以前的影片與鄉土文學有著緊密的關係。然而九０年代中期起，侯孝賢的電影風格與主題有了明顯的改變，當代的都市逐漸成為他的電影最重要的關注焦點。在《好男好女》在呈現白色恐怖歷史的劇情中他加入了當代演員個人生活的對照觀點，《最好的時光》中的三段故事也有以當下年輕人類歐陽靖經歷改編的「青春夢」現代片段。除此之外，《千禧曼波》、《珈琲時光》以及《紅氣球》分別以台北、東京與巴黎為背景與主題，幾乎可以成為侯孝賢繼「台灣三部曲」之後的「都市三部曲」。本計畫企圖以兩年的時間針對下列問題進行研究並尋求答案：１、 侯孝賢在商業電影時期對於台北這個現代都市的認知為何？作品中主要刻劃的現代都市特質是什麼？作品中是否反映出侯孝賢在新電影時期對於現代都市的排斥態度？２、 侯孝賢在新電影時期如何呈現城鄉的對立？此一時期內侯孝賢如何刻劃台北這個現代都市？影片凸顯哪些都市的負面特質？《尼羅河女兒》何以在一般認定為侯孝賢較為失敗的作品，其對於台北都市的呈現主要觀點為何？３、 侯孝賢的都市電影的呈現中何以主要皆以女性為主角？女性的哪些特質與侯孝賢對於現代都市的認知有相吻合處？４、 《千禧曼波》、《珈琲時光》與《紅氣球》在呈現台北、東京與巴黎三個國際都市的形式與面對都市的態度有何異同？侯孝賢在2000 年後一系列以都市為主的電影中是否顯示出一致的美學風格？ ; This project intends to review how Hou Hsiao-hsien’s films depicts the modern city in the past 30 years. Hou is known for his static film esthetics of long shots in his films of the 80s. Those are basically films about the rural areas of Taiwan and hidden history of the national history. Hou starts to change his film style in the 90s with films such as The Puppetmaster and Good Men, Good Women. His three recent feature films, Millennium Mambo, Café Lumiere, and The Flight of Red Balloon, are all urban films about Taipei, Tokyo, and Paris respectively. Considering Hou’s early films, of which he is either the director or scriptwriter in the late 70s and early 80s, are all successful urban romantic comedies, it seems Hou has again find his familiar film subject in contemporary urban cinema. This project will try to answer the following questions after the two years of research: 1. What is Hou Hsia-hsien’s attitude toward the modern city in his early commercial films? Do they show some of the negative attitude he has in his films in the 80s? 2. How does Hou Hsiao-hsien adopt the country vs. city structure in his films of the New Taiwan Cinema period? What negative elements of the urban are depicted in his films? What is Hou’s view toward Taipei in The Daughter of the Nile, which was considered by many as a failure of Hou’s oeuvre of the 80s? 3. Why does Hou mainly use women to be the protagonist in his urban cinema? What female qualities are seen as urban qualities by Hou? 4. 《千禧曼波》、《珈琲時光》與《紅氣球》在呈現台北、東京與巴黎三個國際都市的形式與面對都市的態度有何異同？侯孝賢在2000 年後一系列以都市為主的電影中是否顯示出一致的美學風格？How are Millennium Mambo, Café Lumiere, and The Flight of Red Balloon similar films in terms of Hou’s film style? What is different among them as urban films? Is there a consistent film style in Hou’s depiction of three different cities? 5. ; 研究期間 9808 ~ 9907
