臺灣博碩士論文加值系統

本論文以吳宇森導演之電影《喋血雙雄》做為文本，藉由類型研究、形式分析等電影理論，探討本片背後可能的政治意涵：即香港社會面對1997回歸中國議題時所顯露的危機感。高度商業化的娛樂性與暴力的動作片形式往往成為喋血雙雄在研究電影政治意識時被極度低估的原因。在粵語片重新成為市場主流之後，香港電影圈歷經了新浪潮的新血革命，同時伴隨著香港經濟突飛猛進的成長。八零至九零年代香港主流電影往往表現出強大自信心與不經意流露的神采。然而港人面對政治上即將改朝換代的不知所措、茫然心理，與本片主角們遭逢背叛、不被信任的主題相呼應。此篇論文分為五個章節：緒論，三個主要章節以及結論。第一章介紹香港社會與導演及本片大綱，另外敘述研究方式。第二章討論香港電影工業並對本片進行類型研究。第三章主要運用大衛波德威爾(David Bordwell)的研究方法，細讀重要的場面調度與角色關係。第四章則討論吳宇森的暴力美學及其他關於本片的電影語言使用。結論總結喋血雙雄是一則建構在香港信心危機上的危機電影寓言。

Taking John Woo’s The Killer as a text, this thesis will explore the possible political ideology: the Hong Kong society’s complex and crisis before the handover in 1997, through cinematic theories such as genre study, and form analysis. The viewers often ignore The Killer in the political domain of cinema research, due to the highly entertainment and violent action of this work. My goal in this thesis is using parallel study to show the similarity in Hong Kong reality confidence crisis and the crisis shown in John Woo’s The Killer. After Cantonese cinema was back, Hong Kong cinema industry experienced the New Wave Cinema revolution. Accompanying the miraculous economic development, Hong Kong’s mainstream cinema from the 80’s to the 90’s usually revealed enormous confidence and incidental delight. Since the middle of 1980s, Hong Kong citizens suffered a huge political pressure from the handover issue. Their bushed and puzzled situation can be paralleled to The Killer’s betrayed or distrusted protagonists.
This thesis is divided into five parts: an introduction, three main chapters and a conclusion. Chapter one includes an introduction to Hong Kong society and the author, a synopsis of the film, a brief introduction of the theories applied in the thesis. Chapter Two discusses Hong Kong cinema system and offers a genre study in depth of this film. Chapter Three begins with a close reading on the important mise-en-scene and characters. Theories of David Bordwell will be mainly practiced to analyze symbols in The Killer, a structuralism allegory. Chapter Four involves important cinema languages or forms in the film, like art design and editing. Chapter Five will be my conclusion of this film. The Killer is a structuralism allegory establishing on Hong Kong reality confidence crises and the crisis narrative in the film.

Chinese Abstract ……iii
English Abstract ………iv
Chapter One: Introduction ………1
Chapter Two: Hong Kong Cinema Industry Before 1989………17
Chapter Three: Close Reading on the Mise-en-scene
and Characters …………35
Chapter Four: John Woo’s Aesthetic in The Killer ……………57
Chapter Five: Conclusion………71
Selected Bibliographies ………77

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