言此意彼的策略性选择——解读《霸王别姬》、《喜宴》

陈凯歌的《霸王别姬》（1993）和李安的《喜宴》（1993）是华人电影中最早涉及同性情感的影片。由于历史、习俗和文化诸因素,此类题材对于1990年代初的华人世界还是禁忌较深的话题。陈凯歌以同性情感纠葛完成了半个多世纪的中国近代史叙述;而李安则从叙事语境入手,在相同角度下关注不同文化间的差异及传统习俗和现代观念的冲突。由此,两部影片表层的同性情感叙述更多地表现为叙事策略而非导演真正的叙事目的,因此,所谓“发轫之作”也就仅仅是对同性情感做了“涉及”而非本体意义上的表达。

A Strategic Choice on Both Sides:An Outline of the Two Early Homosexual Movies Directed by Chinese

Mainland director Chen Kaige' s "Farewell to Bieji"(1992) and Taiwan director Li An' s "Happy Banquet" (1992) are the two earliest movies concerning homosexuality in the Chinese world. Influenced by such factors as history, customs and culture, the two directors who show their respective concerns Over homosexuality, a taboo in eyes of the whole Chinese world, at the same time choose to handle indirectly this sensitive subject across the Taiwan Straits. The former, starting from the narrative conception, bases his story on a homosexual affection to record a half - century' s Chinese modern history, while the latter starts from the narrative strategy and expresses the cultural differences and the conflict between the traditional and modem views. The movies both provide valuable revelations for the future Chinese directors to probe into subject matters of this kind.