邊緣族群與救贖想像－張作驥之《黑暗之光》與《美麗時光》

The Marginalized and the Redemptive Imagination: Chang Tso-chi's Darkness and Light and The Best of Times

廖瑩芝(Ying-chih Liao)

張作驥 ； 黑暗之光 ； 美麗時光 ； 邊緣族群 ； 救贖 ； 班雅明 ； Chang Tso-chi ； Darkness and Light ； The Best of Times ； Redemption ； The marginalized ； Walter Benjamin

興大人文學報

60期（2018 / 03 / 01）

217 - 236

繁體中文

邊緣族群向來是張作驥電影中的必要質素，並以此作為呈現當代台灣社會現實的重要媒介。但不同於其他關注及批判當代社會現象的寫實作品，張作驥的電影美學特色之一，便是將電影中的沉重現實與片中人物的內在想望巧妙地連結，構成了虛實難辨的輕快結局。本文藉由深入分析《黑暗之光》（1999）與《美麗時光》（2001）兩部電影，結合班雅明的意象與救贖概念，探討張作驥的想像性敘事不僅只是電影美學上的風格式手法，更是為其電影中的邊緣族群開展了在絕望中獲得救贖的可能，在電影敘事上完成了其電影題旨的象徵意義。

The marginal has been an important agency in Chang Tso Chi's films for the representation of the reality of contemporary Taiwan. Standing out from other films that focus on social criticism and realism, Chang forms one of his signature styles by blurring the line between reality and inner aspiration and creates narrative endings with lightness and imagination. Through analyzing Darkness and Light (1999) and The Best of Times (2001) with Walter Benjamin's concepts of image and redemption, this essay suggests the imaginative endings do not only stand as Chang's signature aesthetic style, they also provide a narrative function that offers redemption for the characters desperately suffering in marginal societies, thus completing the symbolic meaning of these films' themes.

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