Abstract
本文旨在探討四部《哈姆雷特》電影，解析暴力美學在影片中所呈現的效果並詮釋其所具有之意涵。這四部電影分別為奧利維爾（Laurence Olivier）所執導的《哈姆雷特》（1948）、澤菲雷利（Franco Zeffirelli）所執導的《哈姆雷特》（1990）、馮小綱所執導的《夜宴》（2006）以及由胡雪樺所執導的《喜瑪拉雅王子》（2006）。本文聚焦於電影畫面中對武器穿刺人體的著墨，以及各種關於死亡意象的色彩分析，並嘗試為電影運用暴力所營造的觸目驚心效果辯護。
This paper discusses four cinematic adaptations of Shakespeare?s Hamlet, namely, Laurence Olivier?s Hamlet (1948), Franco Zeffirelli?s Hamlet (1990), Xiaogang Feng?s The Banquet (2006), and Sherwood Hu?s Prince of the Himalayas (2006), to explore how they deal with violence to create specific effects and interpretations. It focuses primarily on the different ways these movies dramatize sharp weapons piercing into human bodies and present colors in death images. The paper concludes with an apology for the aesthetics of violence.
This paper discusses four cinematic adaptations of Shakespeare?s Hamlet, namely, Laurence Olivier?s Hamlet (1948), Franco Zeffirelli?s Hamlet (1990), Xiaogang Feng?s The Banquet (2006), and Sherwood Hu?s Prince of the Himalayas (2006), to explore how they deal with violence to create specific effects and interpretations. It focuses primarily on the different ways these movies dramatize sharp weapons piercing into human bodies and present colors in death images. The paper concludes with an apology for the aesthetics of violence.
| Original language | American English |
|---|---|
| Pages (from-to) | 1-18 |
| Journal | 中山人文學報 |
| Issue number | 31 |
| State | Published - 2011 |
