An Audience's Close Reading of Chang Tso-Chi's Films: From Cuts to Fades into Black in Ah Chung and Darkness and Light

細讀張作驥電影：從切入到淡入黑幕的連續剪輯談《忠仔》和《黑暗之光》

莊馥熒(Fu-Ying Chuang)

張作驥 ； 臺灣新電影 ； 連續性剪輯 ； 黑幕 ； 電影觀眾 ； Chang Tso-chi ； New Taiwanese Cinema ； continuity editing ； a solid black screen ； film audience

中山人文學報

40期（2016 / 01 / 01）

119 - 143

英文

自一九九○年代起，張作驥的電影就備受國內外電影節的關注，也吸引了一定的觀眾，有一定的票房表現。本篇論文想針對「觀眾怎麼透過自己的生活經驗來看懂電影」作為思考的起點，透過細讀電影文本裏的拼貼剪輯與張習慣在電影裡使用的「黑幕」，指出電影裏透過鏡頭與畫面的剪輯而成的敘事是有一定的邏輯的。這樣的電影敘事與劇情敘事有很大的不同。本文要強調，唯有透過學術性地閱讀這些電影文本，導演邀請觀眾針對「電影」作為獨特的媒體與創作工具的對話，才有可能繼續下去；觀眾也才能發展出獨立的、自由的選擇的能力去欣賞非主流電影。

Chang Tso-chi is a Taiwanese film director who joined the New Taiwanese Cinema movement in the late 1980s and made his film debut in the mid-1990s. Since then, international film festivals have closely observed his films, which always attract certain audience groups and attain mild success in the local film market. This article intends to reveal how audiences often approach a film based on their own life experiences but how this does not always appropriately facilitate their understanding of a film text. By offering a technical reading- focusing on continuity editing and the massive use of cuts and fades to black- of Chang's first two films, I would like to invite a reflection on the audience's reception of local cinematic traditions. I argue that the film author's invitation for audiences to have a conversation about the film is not naturally formed. Instead, it requires a group of facilitators, film critics and scholars for example, to further this conversation and to propagate discussions about films, which will then enable audiences to develop their own ability to make sense of non-mainstream films.

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