以《4:30》的“戏剧治疗”论陈子谦反审查的边缘创作心态 = “Dramatherapy” in 4:30 : an analysis of Royston Tan’s anti-censorship and marginalised attitudes in filmmaking

• Main Author: 陈沛敏 Chan, Pei Min
• Other Authors: School of Humanities and Social Sciences
• Format: Final Year Project
• Language: Chinese
• Published: 2011
• Subjects: DRNTU::Social sciences::Mass media::Broadcasting::Motion pictures and films::Film theory and criticism
• Online Access: http://hdl.handle.net/10356/43570
• Institution: Nanyang Technological University

《4:30》作为陈子谦经典作品中最黑暗、最隐晦的长片，其创作灵感来自于陈导演坎坷的制片历程。2003年，陈子谦因《15》与《Cut》的审查风波被迫离开新加坡。在远离国家的这段期间，陈子谦投入《4:30》的剧本编写，将反审查者不得志的郁闷心情投射在影片中边缘人物的身上。至此，《4:30》前后的电影作品在创作风格上便出现了明显的差异。《4:30》之后的创作虽然依旧延续边缘文化的探讨，但风格上的转变，预示着导演在创作生命中的转捩点。在这个理解上，《4:30》具备了菲尔•琼斯所提出的“戏剧治疗”功能。导演通过戏剧的创作达到情感上的抚慰，在拍摄手法及创作风格上寻找全新的立足点。导演早期的创作曾多次触犯新加坡电影审查局的审查制度，形成了导演反审查的边缘者创作心态。本文将针对新加坡电影与社会的审查制度，理解严苛及保守的社会审查机制与导演及作品之间的相互影响，再回溯于《4:30》具体的文本解析，从导演如何通过剧中人物再现的边缘身份与情感波折，向主流群众提出疑问与政治诉求，从而完成反审查边缘创作者在“戏剧治疗”中的创作心态历程。 4:30 is the darkest and most obscured film amongst the classic works of Royston Tan. The particular film draws inspiration from Tan’s tumultuous journey in filmmaking. In 2003, Tan left Singapore after a series of conflicts with the censorship board due to his controversial films, 15 and Cut. While he was away, Tan devoted to the scripting of 4:30, expressing sorrows and despair of his anti-censorious persona through the marginalised character in film. 4:30 marked a perceptible difference between films produced before and after the movie. Although films made after 4:30 saw a continued trend in the themes of marginality, there was a significant twist in the style of cinematography, which depicted a crucial change in Tan’s journey in filmmaking. 4:30 is therefore seen as a form of “Dramatherapy”, mentioned by Phil Jones. In employing the creation of drama to achieve emotional comfort, the director attains an all new perspective in the techniques and styles of filmmaking. The early works of Tan had always been antagonistic with the Board of Film Censors in Singapore, resulting in Tan’s anti-Censorship and marginalised attitude in filmmaking.