本文試圖針對八○?代以?大?文革敘事所改編的文學電影進?探?與研究。文化大革命之後，知?份子對於現實予以強?批判，他們從最初對文化大革命的反?，否定，揭發它的罪?，進而對現實社會中種種醜?現實進?反思檢視，然而改編電影之後從批判政治、現實醜?，轉向對現代性的反?，情慾壓抑的探?，或鄉土懷舊之凝視，呈現?同的話語?動。在此同時，十?文革造成的文化「空白」，以及西方「進步」思想的湧入，亦?斷迫使人們對民族文化自身的渴求。因此，在這樣一個既需斷?且需回頭尋根的矛盾擺盪中，文化表現如何型塑／承載新的主體呢？筆者以為，蘊藏於此文化?述的核心議題如：現代性與主體性等問題，在八○?代至九○?代初期大?新時期小?所改編成的電影，以及文革敘事隨著時代變遷如何被?岸電影工作者所改編詮釋，並被吸納進全球化的消費語境是值得我們進一步去探?。本文以莫言小?／電影改編作為?解前述大?文革敘事及?岸文學文化如何跨界?動想像的起點。 This paper investigates the film adaptations of narratives of the Cultural Revolution which have been published beginning in the 1980s. Following the Cultural Revolution, writers began to sharply criticize the many excesses and injustices that occurred during the period, at the same time portraying the dark side of humanity in general. However, in the film adaptations of these narratives, these same criticisms are deflected and become a critique of modernity in general. Moreover, the decade-long cultural blank left by the Cultural Revolution, already partly filled by an inrush of ideas from the West, has given rise to a backlash in the form of a widespread thirst for traditional Chinese culture. Such a bivalent situation, characterized by oscillation between ignoring the past and reflecting on it, raises challenging questions on the nature of culture and how it is transmitted. In this paper I explore the important issues which have a bearing on this phenomenon, especially the way in which these novels have been adapted into films in Taiwan and mainland China during the 1980s and afterwards. I also discuss how this process has been influenced by the language of global consumerism. In order to elucidate this phenomenon, in this paper I focus on the film adaptations of Mo Yan’s novels set during the Cultural Revolution.
