光影羅曼史：台港電影的藝術與歷史

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　　沈曉茵終於出書了！！！

　　沈曉茵是國內少數專門研究電影的學者。她在美國康乃爾大學以侯孝賢電影研究論文取得博士學位，回國後在台灣大學外文系任教，啟發無數學子對電影的興趣。我們曾一起主編侯孝賢電影兩本研究論文集《戲戀人生：侯孝賢電影研究》與《戲夢時光：侯孝賢電影中的城市、歷史、美學》。

　　沈曉茵也曾是國家電影資料館發行的《電影欣賞學刊》的編輯委員。她在各期刊與專書發表過的中英文研究論文，列出來有一長串，早就可以結集出版。可是多年來她寧可繼續研究撰文，不願意將時間花在整理編輯自己的論述上。

　　這次中央大學出版社能夠說動她，將十篇關於60與70年代台灣電影、侯孝賢電影與近二十年台港電影的研究論文，收錄在《光影羅曼史：台港電影的藝術與歷史》這本書裡，為國內氣弱體虛的台港電影研究注入了一股不小的續命真氣。

　　書名「光影羅曼史」十分迷人。光影是電影，羅曼史是愛。侯孝賢電影無疑是沈曉茵的最愛。她對侯孝賢的電影提出「本來就應該多看兩遍」的說法，說得天經地義。從《悲情城市》與《戲夢人生》的景觀鏡頭到景深長，到《南國再見，南國》新風格的氣味，再到《最好的時光》的「點燈」與「過橋」，書中三篇論及侯孝賢三十年來電影幾部代表作的論文，如數家珍地點出她所謂「侯式美學」的範式與轉變。

　　「光影」也是對台灣電影史較為幽微處的探照。書中三篇關於台灣早期電影的論文，剖析台語片悲情通俗劇裡的無能男與苦命女角色，審視三部不太健康寫實的國語文藝片內涵，也指出瓊瑤電影裡有母女情、宗族情與家國情，不是只有三廳式的浪漫愛情。

　　另外有四篇論文聚焦性別與身份認同議題。一篇從「性別羅曼史」的角度去強調楊凡多性別主題電影的藝術性，另一篇從楊惠珊、張毅與蕭颯這三位電影人糾葛不清的愛恨關係，分析80年代台灣的女性處境與文化現象。還有兩篇檢視許鞍華、羅卓瑤與賴聲川的電影中對於台灣與香港身份認同既尋覓又欲逃離的複雜呈現。

　　《光影羅曼史：台港電影的藝術與歷史》拋開花枝招展的電影理論，透過親切平實的文字，引領讀者踏上一段五十年來台港電影的漫遊，深入淺出地導覽電影迷人的藝術。這是久違了的評論電影的方式，一種有人的溫度的電影研究書寫，像是《南國再見，南國》裡的火車與《遊園驚夢》裡的崑曲，是一種浪漫。

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