光華新聞文化中心

地點:何黎婉華庇道演藝劇院

地圖:

【金馬近距離】主題影展

Golden Horse Film Awards Focus Screening

【恐怖份子】放映

4月14日(五) 19:30 -21:20

何黎婉華庇道演藝劇院

Teatro Clementina Leitão Ho Brito

2010 ｜ 楊德昌 Edward YANG ｜ 109'

1986 ｜金馬獎最佳劇情片

1986 ｜Golden Horse Awards, Best Feature

此片為台灣新電影經典之一，多線敘事，但結構井然縝密，突顯了現代社會和摩登城市中的個體，游離又疏離，欠缺溝通但相互碰撞，彼此之間有近乎宿命的偶然。原本平行無涉的城市人，因為偶發事件，讓各敘事線交錯、收束、最後集中絞合成一條引信，終 將拉動手槍的板機。這種表面平靜但暗潮洶湧，一觸即發、緊繃壓抑的恐怖氛圍，是楊德昌對八○年代台灣政經發展瀕於臨界點、解嚴前夕社會集體張力的描繪。如此恐怖境況下，空洞的個體原本可以轉向傳統社會中的家庭來取得庇護或慰藉，但在此片中的現代社會裡，家庭其實已然分崩離析。此外，片中的「相片」與「小說」，乃是楊德昌把不同藝術體裁 嵌入電影的形式實驗，但又同時追索了敘事電影的二重身世：攝影術與

故事、影像與文字。最後，真實與虛構的後設辯證，除了出現在片中小說家弄假成真的寫作、攝影師對相片少女的迷戀，也出現於著名的開放式又超現實的片尾，彷彿整個現代社會體系令個體不堪負荷而嘔吐；或者，整個事件只是一場夢境。

The Terrorizers marks Yang's maturity of modernist aesthetics and rises to the level of a classic of Taiwan New Cinema. Its multiple narratives intertwine not with Hollywood 'coincidence' but with 'chance' a distinct feature of modern city and society. Traditional solidity, such as a commune or a union, falls apart with modernization and capitalization. Then isolated individuals or estrangedstrangers, drift in an atomized society and meet in anomie amidst the rapid social-economic growthin Taiwan during the 1980s. With such a narrative strategy, Yang evokes the high tension andrepression on the eve of the lifting of Martial Law. The society is on the verge of breaking out, andYang's modernist style perfectly matches the state of things. What's more, Yang introduces into thefilm other two art forms, photography and novel, to experiment with cinematic language and probethe dialectics between the fictional and the real, which figures a great deal in Taiwan New Cinema.

The famous open ending, the trigger-pulling and the nausea, is dreamlike and highly intellectual, inviting the audience to reflective thinking.

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