《中国电影研究》第二期｜武俠小說影片的儒家思想東方主義者與西方世界觀

Teo, Stephen. “Confucian Orientalism and Western Outlook in Martial Arts Film,” Journal of Chinese Film Studies 1, no. 1 (2021): 65-82.

整體來看，東亞武俠小說電影的神學、美學規範和影片特徵仍是武俠小說電影科學研究應用領域中未被探索的部份。

This part explains the definition of Confucian Orientalism, gives a brief description of the tradition of self-orientalism in the Asian cinema, and points out that the films directed by Kurosawa Akira have made great contributions to the re-modeling of Orientalism in a wider Eastern (or East Asian) context.

The xiayi meng exemplifies the heroic principle of action and this is perhaps the one principle that crisscrosses East and West. There may be different interpretations of history from the Eastern and the Western viewpoints, but the heroic principle binds both viewpoints. Heroes in both the cinemas of the East and the West are compelled to act, to defend themselves and to resort to violence, due to crises, or perhaps due to heroic opportunities that present themselves in moments of crises. Here, I would like to refer to Zhang Yimou’s The Great Wall (2016) in dissembling the topic of Eastern and Western outlooks in the genre. This is a US-China coproduction which combines wuxia with the Hollywood-style monster picture—effectively, this combination looks back to the early tradition of shenguai wuxia and is therefore redolent of the early movement of Orientalism in Chinese cinema. Because the film is a coproduction between China and Hollywood, it presents a convergence of Eastern and Western outlooks and interests around the theme of sameness.

黑澤明的影片和中國編劇的武俠小說影片經典作品中彰顯了什麼樣的儒家思想規範？黑澤明刻畫的“武士”與中國編劇刻畫的“俠”有何異同？中西方對武俠小說影片中彰顯出的儒家思想規範有什麼樣相同的解讀？那些問題都將在本節獲得探討。

Abstract: This paper discusses the martial arts genre with reference to the films of the Japanese master Kurosawa Akira and the Chinese director Zhang Yimou, discussing how both directors converge in their themes and styles through the concept of “Eastern Orientalism.” Such Orientalism is based on Confucian precepts of zhengming (rectification of names), chaos theory, and the defense of the people undertaken by militaristic but heroic individual protagonists (samurai or xia). In raising the issue of Orientalism, the paper probes into the Western perceptions of the genre and the imperative of directors like Kurosawa and Zhang in pandering to Western tastes. However, these same directors seem equally preoccupied with fostering a sense of self and nationalistic expression in their response to and treatment of Orientalized content. The paper concludes with a discussion on The Great Wall (2016) as a comparative review of the Western and Eastern viewpoints at play in the US-China co-production. Here the analysis revolves around the issue of sameness, dramatized as a main theme in the film.

Arif Dirlik表示，在過去，“東方主義者（Orientalism）”主要被視為是“殖民者對亞洲地區社會的觀點”，且其囊括的覆蓋範圍也應包含“亞洲地區人對於亞洲地區社會的觀點”，用作解釋亞洲地區社會發生的自我東方主義者（self-orientalism）的態勢，該態勢也將成為東方主義者發展史的關鍵重要組成部分。

There is quite a long tradition of self-Orientalism in the Asian cinema. Since our topic is the martial arts genre, we may refer to the beginnings of the genre in the late 1920s in the Chinese film industry then centered in Shanghai as the start of the Eastern Orientalist tradition in Chinese cinema. This is exemplified by The Burning of the Red Lotus Temple, a film serial that ran from 1928 to 1931 and captured the imaginations of the public of that time. The name of Wuxia was popularized in that period.

Journal of Chinese Film Studies立足於中國，面向國際，旨在搭建世界級國際學術科學研究網絡平臺，刊登海內外高水平的中國影片科研成果，強化相同文化背景的科學研究者之間的對話和溝通交流，促進海內外影片科學研究界積極開展交流與戰略合作，推動中國影片科學研究的全球經濟發展。想與海內外著名歷史學者一同深入探討中國影片嗎？趕緊行動投稿吧！

《中国电影研究》第二卷第二期

Stephen Teo：Confucian Orientalism and Western Outlook in Martial Arts Film

Journal of Chinese Film Studies Volume 1, Issue 1

Keywords: orientalism, martial arts film, Confucian precepts

來源：中國電影科學研究

3. About the Author

請點擊上方鏈接通往 Confucian Orientalism and Western Outlook in Martial Arts Film

Confucian Precepts in Eastern Orientalism

摘要：本文以黑澤明和張藝謀的武俠小說電影經典作品為例，分析了三位編劇在其經典作品中彰顯的儒家價值觀東方主義者，這一主義者使兩者經典作品在主題和藝術風格上發生趨同。這類東方主義者以儒家價值觀的正名價值觀、混沌方法論、以武力保護軍人的個人英雄（韓國的“武士”、中國的“俠”）為基礎。本文探求了西方觀眾們對這類武俠小說電影的認知，以及黑澤明和張藝謀對其經典作品進行西方化改建的必要性。但是，三位編劇在澄清和處理東方化內容時，或許也很著重自我意識和民族主義者表達。最後，以《长城》為例，對中西方觀眾們對本片的評價進行了較為，圍繞《长城》中彰顯的“同一性”（sameness）問題進行分析，這一問題在影片中被戲劇性，成為了影片的主題。

2. A Glimpse of the Article

“俠義夢”彰顯了英雄的行動準則，這也必須是中西方共通的準則。從中西方的角度上看，可能將有相同的發展史解讀，但該準則使兩者互相關連。在中西方電影中，當債務危機來臨時，英雄們都不得不採取措施，訴諸武力保護他們。在此，本文將以張藝謀的《长城》為例，深入探討中西方觀眾們對於功夫片的相同認知。《长城》是一部中美合拍片，它將武俠小說與荷里活式的“怪物片”有效地結合在一同，這一組合使其迴歸過去的神怪武俠小說傳統，也使人聯想到中國電影晚期的東方主義者運動。該影片圍繞“同一性”（sameness）的主題呈現出了中西方看法和興趣的融合。

《中国电影研究》

想要了解作者關於儒家思想東方主義者、西方對於東方武俠小說影片的認知的更多解讀

In general, the philosophical and aesthetic norms and characteristics of martial arts films in East Asian cinemas are an underexplored part of the genre’s conventions.

張長興：武俠小說影片的儒家思想東方主義者與西方世界觀

東方“東方主義者”中的儒家思想規範

Stepehen Teo

馬來西亞南洋理工學院張長興副教授分析了黑澤明與張藝謀三位編劇創作的功夫片的神學基礎，重點關注西方觀眾們對於這類電影涵義的認知，並對張藝謀編劇的《长城》進行具體分析，對影片中彰顯的“同一性”問題進行了解讀。

What Confucian precepts are shown in Kurosawa’s and Chinese directors’ creations? What are the similarities and differences between samurai and xia in different directors’ works? What are the differences between the perceptions of easterners and westerners towards those Confucian precepts? These are the questions that will be discussed in this part.

亞洲地區影片具備悠久的自我東方主義者傳統。本文主題為武俠小說影片，因而可將20世紀末20二十世紀末以北京為中心的中國影業開始製作的武俠小說影片視作中國的東方主義者傳統的開始。以1928至1931年的《火烧红莲寺》系列為例，該影片系列佔有了當時社會公眾的想像空間。“武俠小說”這一中文名稱也獲得了普及化。

本文為"開放以獲取"，讓科學知識傳播得更遠。

武俠片一般來說被視為是最受國際觀眾們鍾愛的中國電影類別，但是，對於武俠片的理解，中西方觀眾們之間存有著顯著差別。這一點從中文名稱上的差別已可見一斑：西方稱其為“功夫片”，而東方更習慣稱“武俠片”。

The Heroic Principle

To Cite This Article

This part goes on to deliver brief analytical discussions of some philosophical foundations in Chinese martial arts films, to suggest how interpretations may differ from Western and Eastern viewpoints. Additionally, this part refers to a cluster of films, including both classics and recent releases, drawing on their philosophical foundations and perspectives regarding martial arts and motivic principles for action. An idea is pointed out that the Western reception of the genre is an important factor in the genre’s development.

張長興（Stephen Teo），副教授，科學研究應用領域包含澳門影片、亞洲地區影片，主要關注影片類別方法論、影片史、影片編劇、影片人文、國家影片等主題，同時還進行影片方法論的現代文學和聽覺方面的科學研究。著有《香港电影：另外的维度》、《王家卫》、《胡金铨的<侠女>》、《动作片导演：杜琪峰与香港动作片》、《中国武侠电影：武侠传统》等專著，並在知名影片學術期刊、書刊上刊登過數篇該文。除此之外，他還具備多樣的影片實踐經驗，曾在澳門和韓國的國際影片節（山形國際記錄片影片節）出任策劃人。

Confucian Orientalism

https://www.degruyter.com/document/doi/10.1515/jcfs-2021-0006/html

https://mc.manuscriptcentral.com/jcfs

1. Abstract

Arif Dirlik points out that “orientalism has been used almost exclusively to describe the attitudes of Europeans towards Asian societies”, but he also considers that the term should “be extended to Asian views of Asia, to account for tendencies of self-orientalization which would become an integral part of the history of orientalism” (Dirlik 1996,104).

本節闡釋儒家思想東方主義者（Confucian Orientalism）這一概念，簡述亞洲地區影片自我東方主義者的發展史，並表示黑澤明的電影經典作品對於東方主義者的重塑作出了關鍵重大貢獻。

The Activation of Eastern Orientalism

jcfs@degruyter.com

編輯：喻浩婷

Associate Professor Stephen Teo has extensive work experience as editor and film programmer in international film festivals in Hong Kong and Japan (the Yamagata International Documentary Film Festival). He has done significant research work in the field of the Hong Kong cinema, and his research areas include other Asian cinemas, revolving around subjects of genre theory, film history, auteur studies, cultural studies, national cinema, and investigations into the literary and visual aspects of film theory. He is the author of Hong Kong Cinema: The Extra Dimensions, Wong Kar-wai, King Hu's A Touch of Zen, Director in Action: Johnnie To and the Hong Kong Action Film,The Chinese Martial Arts Cinema: The Wuxia Tradition. He has published numerous articles in reputed film journals, and contributed many book chapters.

本節深入探討了中國武俠小說影片的神學基礎，這一點可能會導致中西方觀眾們對武俠小說影片造成相同解讀。除此之外，本節列出了許多經典影片和近幾年發售的影片，以討論影片的神學基礎以及相關功夫和行動準則的看法，並表示西方對武俠小說影片的接受程度對這類影片的經濟發展具備關鍵負面影響。

東方“東方主義者”的興起

關鍵詞：東方主義者；武俠小說影片；儒家思想規範

https://www.degruyter.com/journal/key/JCFS/html