無能的暴力：侯孝賢電影中的幫派暴力美學

Impotent Violence: The Aesthetics of Gang Violence in Hou Hsiao-Hsien’s Films

殘酷與致命的幫派暴力在世界電影中是常見的慣例，然而侯孝賢電影中所呈現的幫派暴力常是瑣碎與可悲的挫敗，完全對比於世界電影傳統中所見到的強悍、無敵、俐落與常見的帥氣幫派英雄制服邪惡勢力的橋段。如此的對比差異並不僅止於角色與劇情的刻畫，而更是最根本地經由不同的暴力美學而展現，這使得侯孝賢的幫派暴力美學有著迥然不同且獨樹一幟的風格。透過深入檢視《悲情城市》（1989）與《南國再見，南國》（1996）兩部片中的幫派暴力場景，本文試圖仔細分析侯孝賢作為一個電影作者所呈現的美學風格建立起的獨特幫派暴力美學，並且提出侯孝賢實然創造出了「無能暴力」的美學呈現，拓展了世界電影中幫派暴力美學的版圖。

Fatal and cruel violence in gangsterdom is the frequent existence in worldwide gang films. However, the gang violence in Hou Hsiao-Hsien’s films displayed an image of trivial and pathetic failure, extremely opposite to the worldwide gangster film tradition: the tough, invincible, clean-cut and at times gorgeous heroes overwhelming the evil forces. This contrast is not just from the depiction of characters and scenarios, but also essentially from the aesthetics of violence, which makes Hou’s aesthetics of gang violence appear as a distinct style to its worldwide counterparts of gangster films. Through analyzing the scenes of gang violence in A City of Sadness (1989) and Goodbye South, Goodbye (1996), this essay intends to identify the unique qualities of Hou’s aesthetics of gang violence along with his cinematic styles as a film auteur, and suggests that the gang violence in Hou’s film creates a style of “Impotent Violence” that expends the horizon of the aesthetics of gang violence in worldwide cinema.