好萊塢的莎士比亞---當代莎翁電影中的流行文化與後殖民空間(I)
學年 97
學期 1
出版（發表）日期 2009-01-01
作品名稱 好萊塢的莎士比亞---當代莎翁電影中的流行文化與後殖民空間(I)
作品名稱（其他語言） When Shakespeare Moves to Hollywood---The Popular Cultural and Post-Colonial Sapces Inhabited by Kenneth Branagh's Films on Shakespeare
著者 吳怡芬
單位 淡江大學英文學系
描述 計畫編號：NSC98-2410-H032-056 研究期間：200908~201007 研究經費：496,000
委託單位 行政院國家科學委員會
摘要 莎士比亞劇作的改編電影在1990年代蔚為風潮，也讓莎士比亞學派由單純的學術研究一躍成為影視娛樂的視覺饗宴。現今以貼近流行文化為出發點所重新創作的莎翁電影，不但對莎翁文本論述、電影分析與表演評論之間的相互關係提供了更為廣泛的討論，也開啟了原版與改編版；電影呈現與文化研究之間的各項探討。本論文旨在探究1990年代以流行文化為主流所拍攝之莎翁電影成為一股風潮，重新定義了莎士比亞電影的意涵。直到肯尼斯布萊納（Kenneth Branagh）1989年的「亨利五世（Henry V）」與1993年的「無事自擾（Much Ado about Nothing）」票房成功之後，改編自莎翁作品的電影才開始與勞倫斯奧利佛（Lawrence Olivier）非常忠於原著的改編風格有了重大的差異。因為理解到好萊塢資金，是影響著英國莎士比亞電影的幕後驅動力，布萊納藉著大卡司的參與、年輕流行文化的融入，與好萊塢的市場資本主義的加持，翻新了傳統的莎士比亞電影，也讓莎士比亞更平易近人。 研究第一部份探討布萊納的「亨利五世」、「無事自擾」、「哈姆雷特（Hamlet）（1996）」與「皆大歡喜（As You Like It）（2006）」，分析莎士比亞的劇本在好萊塢流行文化影響下的各種巧妙變化，許多知名導演如Richard Loncraine (Richard III, 1993)、Oliver Parker (Othello, 1995)、Baz Luhrmann (Romeo+Juliet, 1996)、Trevor Nunn (Twelfth Night, 1996)、John Madden (Shakespeare in Love, 1998)、Michael Hoffman (A Midsummer Night’s Dream, 1999)與Michael Almereyda (Hamlet, 2000) 都採取了類似布萊納的行銷策略，也因此引起了一股改編風潮。第二部份則是根據前述布萊納四部作品的討論，延伸至對其他莎士比亞電影的影響，探討莎士比亞電影流行的現象。布萊納讓莎士比亞成為英國的文化資產、其作品成為一門獨特的文化知識，他與好萊塢的互動令人聯想到後殖民研究裡專門 交易文化買賣的文化買辦一角。換言之，布萊納非常清楚莎士比亞帶有某些特質能夠在好萊塢市場奠基，如：英國的歷史、英國的皇室、英國口音、與英國演員等等，這些條件的商品化顯示文化價值整合成為市場價值的一部份。布萊納將「英國」的莎士比亞成功推銷到「美國」的市場，引發了他在推廣莎士比亞電影時，成為這個後殖民現象中所討論的角色之類比。用「後殖民」來形容布萊納是有些奇怪，因為英國從未受到美國的殖民。布萊納的情形可以讓我們探究「文化買辦知識份子」的形成。在此討論的「文化買辦知識份子」不完全是處於「第三世界國家與已開發國家」的框架中，而是建構於以世界資本主義體系將文化商品化、經濟化的文化帝國主義，這使得英國在「文化上被殖民」，而布萊納也成為這之間的文化商人。 Shakespeare adaptation on film has become a popular culture especially in the 1990s, marking Shakespeare studies a shift from literary research to cinematic pleasure. The present film productions of Shakespeare’s plays that reconstruct a Shakespeare narrative in the realm of popular/pop-culture offer a broader discussion upon the interplay between the discourses of Shakespeare texts, film analyses, and performance criticism, opening up questions about the relation between original and adaptation, and about film presentation and cultural reading. This paper is interested in exploring a collection of films made in the 1990s that infuse the filming of Shakespeare with a sense of popular/pop culture, a growing trend that “renews” the meaning of a Shakespeare film. Not until Kenneth Branagh’s box office success of Henry V (1989) and Much Ado about Nothing (1993) do films based on Shakespeare’s works indicate a significant discrepancy from the adaptational style that made Sir Lawrence Olivier’s versions stamped as straight Shakespeare. The English tradition of Shakespeare film refurbished by Branagh who realises Hollywood money is the hidden drive that steers Britain’s Shakespeare films, enters an arena built up by big cast, popular mass/youth culture, and Hollywood’s market capitalism that all make Shakespeare more accessible. The first part of this research is to discuss Branagh’s Henry V, Much Ado About Nothing, the full-length Hamlet (1996), and As You Like It (2006), analysing the moments where Shakespeare’s scripts get subtly reframed inside of references to Hollywood pop culture, which leads to the adaptational trend among some eminent directors such as Richard Loncraine (Richard III, 1993), Oliver Parker (Othello, 1995), Baz Luhrmann (Romeo+Juliet, 1996), Trevor Nunn (Twelfth Night, 1996), John Madden (Shakespeare in Love, 1998), Michael Hoffman (A Midsummer Night’s Dream, 1999), and Michael Almereyda (Hamlet, 2000), who seemingly adopt Branagh’s market strategies. The discussion of Branagh’s four films to the extent to his influence exerted to other films (on Shakespeare) provides a premise to argue the second part, a debate upon how the popularisation of Shakespeare on film has led to reconsider Branagh as a cultural comprador, a person deals with cultural exchange in post-colonial studies, as Branagh conceives Shakespeare as the property of “ethnic” (British) group and his works the pieces of cultural knowledge. In other words Branagh is aware that there is something about Shakespeare that serves to establish it for the (Hollywood) market: the British history, the British monarchy, the British accent, and the British actors; all of which are commodified, a manifestation that cultural value has been integrated to be a part of market value. Branagh’s success to promote ‘British’ Shakespeare to the ‘American’ market entails the discussion on the potential “post-colonial” spaces inhabited by the role that Branagh plays in the promotion of Shakespeare films. It might be strange to use the term “post-colonial” to describe Branagh, since Britain has never been colonised by the States. Branagh’s case allows us to explore the articulation of cultural comprador intelligentsia, a term in this context not necessarily within the frame of Third World vs. First World, but possibly constructed within cultural imperialism, a network of cultural commodities of world capitalism that has placed Britain in the position of being culturally colonised, and Branagh the in-between position of culture dealer.
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