East Asian Film Stars
East Asian Film Stars
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东亚电影明星
DOI：
10.1057/9781137029195_6
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发表时间：
2014
期刊：
影响因子：
--
通讯作者：
Chan F
中科院分区：
文献类型：
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作者：
Chan F
“Pourquoi une chinoise？”何塞·穆拉诺（卢·卡斯特）问道，他在《伊尔玛·维普》（1996年，法国）的后半段中接替了导演勒内·维达尔（让-皮埃尔·莱奥），这是奥利维尔·阿萨亚斯对路易·弗拉德的连续剧《流浪者》（1915年，法国）的元电影翻拍。在阿萨亚斯的电影中，维达尔是一位上了年纪的导演，他也在翻拍这部经典的法国连续剧，但他决定让香港女演员张曼玉（自己扮演）出演这部电影。维达尔给出了这样做的理由：“没有一个法国女演员能在穆西多拉之后成为伊尔玛·维普--这是不可能的，这是亵渎。”他声称选择她出演这个角色是因为他在马拉喀什看过她在一家“非常便宜的电影院”。在制作的中途，维达尔经历了创造力和精神上的崩溃，取而代之的是穆拉诺，一个失业的福利电影制片人，他采取了更民族主义的观点。对穆拉诺来说，让一位中国女演员出演法国角色似乎是不可想象的，她声称“艾玛·维普是工人阶级的巴黎[巴黎人民]。李文不是傅满洲。”张柏芝在影片中的出现被解读为一个失败的指标。在这种情况下，一个亚洲女演员失败了，也只能失败，通过一个法国人。格蕾丝·安（Grace An）指出，《厄玛·维普》是“一个已经失败的关于逝去的叙事，关于玛吉（亚洲）进入法国及其电影的叙事，或者另一方面，关于法国人最终未能同化一个亚洲他者的叙事”（2000，403）。类似地，戴尔哈德逊认为，“外国的景象--它的超定意义--是玛吉在维达尔电影中扮演厄玛·维普的核心，也是张在《厄玛·维普》中扮演的核心”（2006，230）。我想在《厄玛·维普》和《干净》中探讨的是传球的概念（奥利维耶
‘Pourquoi une chinoise?’asks José Murano (Lou Castel), the replacement for director René Vidal (Jean-Pierre Léaud) in the latter half of Irma Vep (1996, France), Olivier Assayas’ meta-filmic remake of Louis Feuillade’s serial Les Vampires (1915, France). In Assayas’ film, Vidal is an ageing director, who is also in the process of remaking the classic French serial, but has taken the decision to cast Hong Kong actress Maggie Cheung (playing herself) in the eponymous role. Vidal offers this reason for doing so:‘No French actress can be Irma Vep after Musidora–it’s impossible, it’s blasphemy.’He claims to have selected her for the part based on a ‘very cheap cinema’he had seen her in in Marrakech. Halfway through the production, Vidal experiences a creative and mental breakdown and is replaced by Murano, an out-of-work film-maker on welfare benefits, who takes a more nationalist view. For Murano, the casting of a Chinese actress in a French role seemed unthinkable, asserting that ‘Irma Vep is working class Paris [Paris populaire]. Les Vampires is not Fu Manchu.’Cheung’s presence in the film has been read as an index for the failure of passing. In this instance, an Asian actress fails, and can only ever fail, to pass for a French one. Grace An notes that Irma Vep is ‘an already-failed narrative of passing, that of Maggie [Asia] into France and its cinema, or on the other hand an eventual failure on the part of the French to assimilate an Asian other’(2000, 403). Similarly, Dale Hudson argues that ‘[the] spectacle of foreignness–its overdetermined meaning–is central to Maggie’s role as Irma Vep in Vidal’s film, as well as to Cheung’s role in Irma Vep’(2006, 230). It is the notion of passing that I would like to explore in both Irma Vep and Clean (Olivier