Hou Hsiao-hsien’s films are used in translation of Flowers of Shanghai
Posted on April 28, 2011
1998 years of “Flowers of Shanghai” is a film directed by Hou Hsiao-hsien made and the latest one, but also with all previous films ta drawn, language, and style are vastly different on the phone. Hou previous film, whether it is grown motif to compare urban and rural communities against the backdrop of falling, “Hasty holiday” (l984) and “Dust in the Wind” (1986), or outline the history of the twentieth century in Taiwan ” Taiwan Trilogy “(” City of Sadness “(1989),” The Puppetmaster “(1993),” Good Men, Good Women “(1995)), without exception, focused on Taiwan’s history, culture and political reality . The “Flowers of Shanghai” in the space-time is expressed by the Hou Hsiao-hsien, Taiwan is committed to the transition to sleep in the nineteenth century scholar Han Bangqing (1856-1894) described by Shanghai, the language is also known by the Taiwan audience Hou Hsiao-hsien film language and Taiwanese Chinese confusion into the Wu Kingdom can not understand the language and the occasional soft-point mixed Cantonese; in film language, the entire film is not a complete story, no plot that you can understand: wo have seen only from beginning to end fade in and out, both split and converge from a brothel in endless feast wedding flowers scene. No wonder Boston has such a critic’s comment: “in the” Flowers of Shanghai “, by Hou Hsiao-hsien aesthetics seem to have reached a terminal, also on the outside or a style? Is not contrary to the end and beyond the co-existence?” 2 way Confusion represent all known and loved Hou Hsiao-hsien film audiences and film critics doubt the heart. Approached with this problem are: Why is the film’s scenes to choose in Shanghai? Why a century ago in Shanghai if the colonial era? Why the characters will make the film, said Wu?, Of course, for those obsessed with national identity in Taiwan people, the most crucial problem is that Hou Hsiao-hsien also care for local Taiwanese do ta?
To answer these questions, wo had to first out of the island of Taiwan back to the early colonial period of Shanghai, Han Bangqing back to “Flowers of Shanghai Biography” in the title of the original novel, Hou Hsiao-hsien’s film and original assessment of inheritance between relationship. wo analogy drawn in one of the most basic conclusion is that the reason for its peculiar Hou Hsiao-hsien film language to reproduce the one hand, ten foreign field Adult sex Senior brothel daily life, on the one hand the colonial context was deliberately withheld, by the late nineteenth century in order to redefine the space in Shanghai, which emerged out of the end of twenty-world national identity of Taiwan’s efforts to cover up the words of the colonial difference of (Colonial difference). From this perspective, wo ability to clear their rejection of ta Hou Hsiao-hsien, Taiwan is not complex, but in the “Flowers of Shanghai” seems far from reality in the near-Earth, in a “border thinking” (border thinking) approach to deepen Taiwan ta local history and special nature of language and culture in China.
novel “Flowers of Shanghai Biography” first began serialization in 1892, the Qing Dynasty in the subject matter is popular, a writer brothel style “Xiaxie novel.” Han Bangqing the premises of the novel is unique from start to finish with a Wu record ta dialogue between characters, but also because the plot and structure layout ta novel’s imaginative. Since that use “flash interspersed possession” of the law 3, Han Bangqing often hide in the calm and mystery of the cross joint paternity vain to understand the word, but quietly later in the flash. ta appraise the characters in the novel is exhausted (Spring and Autumn Annals “, and very few positive reviews, and readers have their own faults and suture from the plot where the clues to reveal the experience Weiyandayi. This novel is not conceivable to please, but to the twenties of the twentieth century, Lu Xun and Hu Shi were invariably of the “Flowers of Shanghai” strange narrative skills, highly praised. 4 “Eileen Chang is sparing no effort, first be” translated “into the white Beijing novel, while adding a lot of comments, pointing to the fracture and those who plot stitching, then further translated into English. 5 It is worth noting, Eileen Chang’s English title is Sing-Song Girls of Shanghai, rather than the more direct, to be taken by Hou Hsiao-hsien’s film translation of Flowers of Shanghai. According to their own, said Zhang, her translation of the origin of translation itself includes the result of a misunderstanding: “Wu” sir “(the title of higher prostitutes) to read as “Xisang”, Shanghai’s British and American people listened to mistakenly believe that “sing-Song”, because they will sing at the banquet on the case; sing-song girl, hence the name, not a “singer” translation. “Showgirl” is one thousand nine hundred and twenty last years of zero to three years of the new term. “6
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the wrong translation must be appropriate for convenience, wo have as many readers can read the rest of taste, is not only critical of people on the meaning of the novel, but first and foremost is the operating mechanism on the translation itself. Do not take on Benjamin (Walter Benjamin) and Said (E. Said), who for the translation of the classic definition, pick a number, wo they can clear the goal is to make a translation of the language barrier means the two sides to understand each other . Since this must have strong and weak sides of points, translation itself will inevitably be the right strong operation between the paradoxical weak constraints. The most significant imbalance in the rights of the characterization is to receive for the language translation of the attitude of the two parties: one transmission is strong “theory” is a logical and rigorous arguments to rational thinking, is the weaker party received word that expressed by the Figure (Italy) like. The logic behind uneven road course from the West for the rational and irrational, modern and primitive division: and this division is not only diachronic, but the main thing is synchronic in the world to understand the spatial composition itself and it’s different. Consciously or unconsciously, ta, Eileen Chang’s English translation is easily transmitted Westerners understand the East, “singing girl” image, by contrast, “the flower of Shanghai” Although it belongs to the range of vision, but because to go through a layer of For example, the rhetorical conversion to a new layer veil of language, than the “singer” to indirectly much more. Not only is the English translation, in the Han Bangqing novels translated from the dialect of the decline of the May Fourth New Literature strong promotion of the “national language” when the white Beijing, Zhang also ensure user-friendly, not only in the four chapters deleted and the original text quite profound meaning Drinking games and scholars, but also taken the trouble to point out that in the original comment of “possession interspersed flash” of the Department, will be to make the reader (a scene) in the same feelings. 7 wo we can certainly say that the translation of Zhang conveyed the illusion of a translation: translation must be faithful to the original does not, but to make up for the original, give freely their opinion but not words in the original place. Zhang’s Beijing in the white and English, the “singing girl” image does have “full” a lot, become more “lifelike” the. The most significant example is the Huangcui Feng, Zhang pointed out that after the money her son had just Luozi Fu and mediation between, wo have only clear motive of her fine and others the false, but there is no lack snob truth. But this way, the one that said to make up, the original of “possession interspersed flash” the real meaning will be diluted a lot. Han Bangqing The title used to be revealed in a little plot, but the body does not make the account, after the literary talent to figure out where the reader see the meaning to. Traditional Chinese novels are often re-paved the way for some sort of relief under the first, beautiful women chat rooms, but are under the very obvious hint, get out of trouble only to back off the line to pick up the plot. The “interlude possession flash” Miao Miao in the later backtracking on earlier, after the text of the “stitching” method to determine the earlier of the “break” at. From this point of view, wo can say that a large level, Han Bangqing novel foreshadows a revolutionary new way of browsing the arrival of … movie-goers to understand the multi-image mosaic of the overall plot and the ongoing back-style ” Suture “(suturing).
this novel will be “translated” into a movie, and keep using the original in the Wu dialect, the film itself is doomed from the start with a reflection from the wo “meta-film” character. Hou Hsiao-hsien’s amazing is that, ta thoroughly Han Bangqing “interspersed with hidden flash” visual trick, and Ting-Ting, and no more briefly as a trick of the film structure, because the earlier and later fracture of the suture, fate quietly sprouting, as a film language and know how to approach the film, after a century already learning that often the audience. Wo mean to their own self-reflection? Rather than the other things? As the reference coordinates, Tingting, do not worry, it will become close to their own inevitable results.
from the “meta-film” point of view, Hou Hsiao-hsien’s “Flowers of Shanghai” the most obvious feature? movies brothels and completely isolated from the outside world? much easier to understand. Brothels in the original novel is self-contained, Han Bangqing taken the trouble to render the long three Tangzi strongly simulated in a normal family atmosphere, as well as prostitutes and ex-off between the trivial details of life. It is noteworthy that, although the length of three