| Summary: | 碩士 === 國立中央大學 === 中國文學系 === 104 === Lou Ye has created many films over time. His film style becomes more and more identifiable, and the room for collation and discussions of texts is more and more spacious. The structure of chapters and sections of this paper is arranged according to the time sequence of Lou Ye’s filmography. From his early films as Don’t Be Young, Suzhou River, Purple Butterfly, Summer Palace to his recent ones as Love and Bruises and Blind Massage, this paper tries to conduct a complete study and discussion on Lou Ye’s films. The paper emphasizes the textual analysis of Lou Ye’s films, trying to discuss the collage and re-combination between his early films and their original texts, and the difference and transformation between Lou Ye’s film adaptations and their original novels with Gerard Genette’s theory of “transtextuality.” Unlike the stiff film language of the fifth-generation directors’ later films, Lou Ye began to explore the boundary between illusion and reality and present the visual narrative of uncertainty with a film language filled with an experimental spirit in order to break through the barren reality of film narrative. The former part of the paper discusses the intertextual relationship between Lou Ye’s films and their original texts, indicates the trait of “doubtful reality” in those films and reviews the values of heterogeneous collage in the films. Lou Ye’s recent films are mostly adapted from literary works, and thus the latter part of the paper emphasizes the discussion of his two recent films, Love and Bruises and Blind Massage. Through the films’ storylines, media form, film language, perspectives of scriptwriters and the director, this paper analyzes how films transform words of the original works, compares images with words carefully, reveals more layers of different interpretations of Lou Ye’s films, and combs through the entire context of his films from heterogeneous collages to film adaptations.
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