侯孝賢, 悲情城市 敍事戰略

Abstract

This paper intends to study the representation of history and the unique narrative strategy of Hou Hsiao-Hsien’s film A City of Sadness. Dealing with the Taiwanese history between 1945 and 1949, A City of Sadness is pioneering in bringing the 2.28 accident in 1947 to the film. But it shows some historical inaccuracy of including the LuKu accident in 1950 within its narrative of the 2.28 accident in 1947. A City of Sadness is characteristic of using various media in the narrative. For instance, subtitle, writing conversation, music, broadcasting, and blood writing make the film original. And the film contrasts the male ruler's authoritative voice from broadcasting with the lyrical female narrative in the modes of diary and letter. It suggests not only the sexual difference between man and woman but also a relation between official memory and popular memory. In this film the revolutionary aspect of the 2.28 accident is not highly emphasized. It is due to the director's inclination to cherish the ordinariness and continuity of life, which shows Hou Hsiao-Hsien's own respectful style.