臺灣博碩士論文加值系統

本研究旨在探討英國黑色電影的獨特性以及此電影類型所呈現的倫理觀點。「黑色電影」一詞普遍令人聯想到「美國黑色電影」，而現今主流論述也常將美國黑色電影的特性直接視為是黑色電影類型的普遍性特徵。但正因此觀點過於主流，大部分學者尤其在討論「美國以外」的黑色電影時，卻常被這些實為美國黑色電影的特性所侷限。本文試圖對此美國中心觀點提出質疑和反思，並透過闡述黑色電影在英國文化脈絡下的發展，指出人性與倫理議題為英國黑色電影裡最重要且獨特的面向。本文奠基於維根斯坦的「家族相似性」概念，說明英國黑色電影之所以為noir並不是因為它與（美國）黑色電影類型有著共同、決定性的特徵。Noir的「家族」——noir一詞在日常語言中所形成的各種用法及意義——本身就存在一系列異質且錯綜交織的關係（相似、變化、差異等），而英國黑色電影之所以為noir是因為它彰顯這家族裡一部分特定的面相，並非因為它符合黑色電影類型裡所謂的普遍性特徵。基於英、美黑色電影之間存在著異中有同、同中有異的家族相似性，本研究不認同一味地利用美國中心觀點來凝視英國黑色電影（美國犯罪小說角度、德國表現主義風格、道德敗壞的世界觀、硬漢男性焦慮與主體性、致命與性、存在主義疏離等），而是注重英國黑色電影本身未被討論的殊相（英國諜報小說觀點、後帝國情懷、英國本土社會文化因素、共同體與溝通議題、人性和人的處境等）。藉由這些脈絡及主題，本文指出英國黑色電影展現了一種「集體式」的倫理觀點，而此類型中的道德議題與人的共存模式也實而存在著密不可分的關係。透過分析《虎膽忠魂》、《布萊頓棒棒糖》和《黑獄亡魂》，並借鏡艾瑞斯·梅鐸、阿倫卡·祖班契奇和讓-呂克·南希等學者與此倫理觀點相關的概念，本文勾勒出英國黑色電影裡各種呈現人類情態與道德困境的獨特電影修辭，並闡釋這些敘事與視覺形式如何反映當時英國不同的道德態度。

This study explores the various ways in which the category of British film noir evinces its particularities against today’s dominant film noir discourse, which is basically American-noir-centred. It further stakes out the ethical aspect of human life as the most salient specificity of the British noir strand. By relying on Ludwig Wittgenstein’s notion of “family resemblance,” I claim that the reason why British noir is “noir” is not because of the logic of universality (i.e. that it shares “essential” noir traits identifiable within the [American] film noir genre), but because the British variety already represents certain aspects of a whole set of heterogenous and intricate relationships—similarities, variations, differences—existent within the noir “family.” Considering this, I examine the many unexplored yet exclusive aspects of British noir (its unique contexts like the spy genre, post-imperial sentiments, local socio-cultural factors, etc., and its key issues regarding community and communication, humanity and the human condition, etc.). In this, I challenge dominant critical positions, which often merely approach British noir through American-informed lenses (crime fiction, German Expressionist style, a demoralised modern city/world, hard-boiled subjectivity, fatal sexuality, existentialist alienation, etc.). With British-specific elements being parsed out, I argue that ethical concerns, as well as a “collective” outlook onscreen that regards human life as an intricate mode of existence, are the most significant “noir” aspects of British noir. In light of this angle, and drawing on apposite critical lenses from philosophers like Iris Murdoch, Alenka Zupančič and Jean-Luc Nancy, I analyse three British noir paragons, Odd Man Out (1947), Brighton Rock (1948) and The Third Man (1949). I tease out and sketch the rhetorical forms in British noir that present moral scenarios and implications in various ways, which may inform pertinently the diverse moral attitudes within contemporary Britain.

Acknowledgements ii
Abstract iii
中文摘要 iv
Table of Contents v
Illustrations vii

Chapter 1: Introduction 1
1.1 Preliminary Considerations 1
1.2 Literature Survey 9
1.3 Research Limitations 17
1.4 Purpose of this Study 18
1.5 Methodology and Theoretical Approach 19
1.6 Synopsis of Chapters 21

Chapter 2: Genealogy of American and British Film Noir 23
2.1. Introduction: The Making of Noir as a Critical Category 24
2.1.1 The Origin of a French Term 28
2.1.2 American Reception of the French Term 30
2.2 American Film Noir 33
2.2.1 Background Matters 33
2.2.2 Noir Cinema in Hollywood 45
2.3 British Film Noir 51
2.3.1 Conceptualisation of British Film Noir 51
2.3.2 Background Matters 58
2.3.3 British Noir Cinema 66
2.4 Conclusion 77

Chapter 3: Themes and Visuals in American and British Film Noir 79
3.1 Thematic and Visual Motifs in American Film Noir 80
3.1.1 Hard-boiled Detection and The Maltese Falcon (1941) 80
3.1.2 The femme fatale, Gender Perspectives and Double Indemnity (1944) 88
3.1.3 Post-war Maladjustment and Spellbound (1945) 96
3.1.4 American Expressionism and The Killers (1946) 105
3.2 Thematic and Visual Motifs in British Film Noir 114
3.2.1 Agency of Secrecy and Sabotage (1936) 114
3.2.2 Spivvery and They Made Me a Fugitive (1947) 128
3.2.3 Readjustment, Inflection of Community and The October Man (1947) 137
3.2.4 Excess, Restraint and Night and the City (1950) 145
3.3 Conclusion 159

Chapter 4: The Rhetoric of Ethics in British Noir 163
4.1 The Realisation of Good in Odd Man Out (1947) 164
4.1.1 Preliminary Remarks 165
4.1.2 Synopsis of the Film 167
4.1.3 The Adventure of “Unselfing” 170
4.1.4 From Fantasy to Moral Imagination 176
4.2 The Problem of Evil in Brighton Rock (1948) 185
4.2.1 Preliminary Remarks 185
4.2.2 Synopsis of the Film 187
4.2.3 “Evil Be Thou My Good” 191
4.2.4 The Importance of Being Evil 198
4.3 The Resistance to Community in The Third Man (1949) 204
4.3.1 Preliminary Remarks 204
4.3.2 Synopsis of the Film 207
4.3.3 “Unworking” Human Relationship/Community 210
4.3.4 Recognising the “Third” Man 219
4.4 Conclusion 226

Chapter 5: Conclusion 229
Bibliography 235

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