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本文论述了侯孝贤电影旁观、冷视的视点及其成因,认为其影片形成一种日常生活般魅力的原因在于容纳了男性时间与女性时间,并使它们形成参差的对照。再从侯孝贤的创作历程分析,认为其美学追求经过了从怀旧到颓废的轨迹,指明了侯孝贤电影在中国电影史上的地位。最终得出结论,即侯孝贤的电影总是展示一个以嫡长子自居的男性主角的故事,他的追求、挫折与悲伤都象征了台湾这个以中华文化嫡传自居的政权在世界政治经济及文化大环境中的处境及遭遇,其电影的空间总是局限于过去的乡村与现在的大都市的对比之中,情感也在痛惜中华传统文化的挫败与西方式文明的堕落中纠结。对于这种先在的心理负累,他只能以对命运苍凉感的体认作为救赎。
This article discusses Hou Hsiao-hsien’s cinematic perspectives and the causes of his neglect. He believes that the reason why his films form a kind of daily life charm is that they accommodate male and female time, and make them form a jagged contrast. From the analysis of Hou Hsiao-hsien’s creation process, he thinks that his pursuit of aesthetics has gone through the track from nostalgia to decadent, indicating the position of Hou Hsiao-hsien film in the history of Chinese cinema. In the end, Hou Hsiao-hsien’s films always show the story of a male protagonist who takes the eldest son as his own. His pursuit, setbacks and sadness symbolize that Taiwan, the political power that transmits itself through Chinese culture, In the midst of the situation and encounter, the film’s space is always limited to the past countryside and the current metropolitan contrast, the emotion is deploring the frustration of traditional Chinese culture and the decadent of Western civilization. For this first psychological burden, he can only redeem the recognition of the sense of destiny.