【影評】《吸血鬼：諾斯費拉圖》：表現主義中的寓言與服飾——關於文學作品、女性主義與身份認同

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The News Lens 關鍵評論網","url":"https:\/\/www.thenewslens.com"},"keywords":["影劇","影評","奧斯卡","吸血鬼","2025奧斯卡","吸血鬼：諾斯費拉圖"],"dateCreated":"2025-02-21T13:24:29+08:00","dateModified":"2025-02-22T14:00:36+08:00","datePublished":"2025-02-22T14:00:00+08:00","description":"綜觀《女巫》、《燈塔》、《北方人》與《吸血鬼：諾斯費拉圖》，羅柏艾格斯所創造的世界如此鮮活沈浸，卻無以逃避隱含在眾多活躍角色間的終極主題：痛苦與孤寂。而《女巫》是女性主義的失落、《燈塔》是存在主義的悲哀、《北方人》是懷疑主義的輓歌，《吸血鬼：諾斯費拉圖》則是表現主義的寓言；甚至是，《吸血鬼：諾斯費拉圖》片中的服裝與文學，或明或暗地展開了某種寓言。","articleBody":"愛爾蘭哥德派小說家史托克（Abraham Stoker）於1897年出版的長篇恐怖小說《德古拉》，繼1979年荷索（Werner Herzog）《諾斯費拉圖：夜晚的幽靈》（Nosferatu:The Vampyre）以及2023年大衛費雪（David Lee Fisher）的《諾斯費拉圖：恐怖交響曲》（Nosferatu: A Symphony of Horror）後，2024年再度改編。這回由美國編導羅柏艾格斯（Robert Eggers）領軍英美硬底子與新生代班底，三度編修《吸血鬼：諾斯費拉圖》，致敬了德國表現主義大師穆瑙（Friedrich Wilhelm Murnau）於1922年執導的黑白默片《不死殭屍—恐慄交響曲》（Nosferatu, Eine Symphonie des Grauens）。[1]Photo Credit: UIP《吸血鬼：諾斯費拉圖》劇照表現主義與文學作品美國導演羅柏艾格斯最初在紐約市大小劇場擔任舞台劇美術指導與劇裝設計師。2015年推出執導處女作《女巫》，宛如美國浪漫主義作家霍桑（Nathaniel Hawthorne，1804-1864）以十七世紀美國新英格蘭地區女巫審判事件為背景的民間傳說，觀者似乎吞嚥了柴煙、迷信與恐怖的肅殺氣息。2019年則網羅威廉達佛（Willem Dafoe）與羅伯派汀森（Robert Pattinson），改編自1801年威爾斯職災事故的《燈塔》，在座幾乎體驗到冰寒海流穿刺肌膚，侵蝕了意志與理智。到了2022年的《北方人》二度與威廉達佛和安雅泰勒喬伊（Anya Taylor-Joy）合作，並號召影后妮可基嫚（Nicole Kidman）、瑞典男星亞歷山大史柯斯嘉（Alexander Skarsgard）以及冰島歌姬碧玉（Björk）演繹莎翁悲劇《哈姆雷特》的北歐史詩版——那野蠻、荒蕪、嚴酷的家族輓歌，在在迫使觀者直視冷血謀殺、精密復仇、欲望受挫的終極矛盾。羅柏艾格斯的電影建構並非奠基於原創故事或角色，而是探索並接受了特定時期語言的節奏和特點，其劇本充滿了繁複的詛咒和華麗的辭藻，加諸運用偏黑白色調與低光調度，以及劇裝設計師的背景，其布料的考究、服飾的細節與劇中角色發展同時並行。Photo Credit: UIP《吸血鬼：諾斯費拉圖》劇照表現主義中的服飾語碼：新生代與硬底子2024年，羅柏艾格斯致敬穆瑙德國表現主義風格的《吸血鬼：諾斯費拉圖》那令人毛骨悚然的性渴望，以青苔滿佈的斷垣殘壁和低光區躁點顆粒感突出的陰鬱氣氛，枯乾爪手的巨大暗影投射在德北海港城市Wisborg寂靜的上空，宛如無人機航行，隱隱訴說角色之間的性焦慮與性障礙的不安。羅柏艾格斯和服裝設計師Linda Muir四度合作，與工藝團隊以厚重破舊的貂皮大衣、宛如吸食毒品後的血泡破皮，以及詭異至極的一撮小鬍鬚，打造了高人一等、俯視即睥睨的瑞典演藝家族小弟比爾史柯斯嘉（Bill Skarsgard）活人生吃的驚悚，創造了極度黏糊潰爛、高度白人至上納粹主義、最了無生命力的吸血鬼伯爵。如同在史蒂芬金（Stephen King）同名小說改編的《牠》與《牠：第二章》劇中扮演小丑邪靈一角，比爾史柯斯嘉半陰影狀態透露出那含糊不清、嘶啞力竭的東南歐口音，加諸直白不晦的性渴望，卻掩飾不了性功能障礙的老不休情結。而與1922年穆瑙版本，德國舞台劇演員Max Schreck飾演的奧洛克伯爵相較，比爾史柯斯嘉詮釋的半獸人堡主欲將古老邪惡殖民西歐海港，以狂喜淫穢的血腥征服端莊的年輕新娘，好為他的後世帝國擴張，更逼使觀者感受到噁心的誘惑，進而散發出無比凌厲的鋒芒。至於遊走於大成本製作與獨立劇本間，表現皆可圈可點的英國小生尼可拉斯霍特（Nicholas Hoult）於《吸血鬼：諾斯費拉圖》飾演房地產經紀人湯馬斯，迫於新婚生計與事業野心，只得獨自前往外西凡尼亞克爾巴阡山脈群，與潛在客戶奧洛克伯爵注定一場命運轉折的魔鬼交易。在《吸血鬼特助》與尼可拉斯凱吉（Nicolas Cage）逗趣互動的尼可拉斯霍特，仍然被視為本片之於十九世紀中產階級信奉科學理性，以及古老玄學辯證風氣中的超然主義者。然而，在探訪外西凡尼亞旅途中，全村居民一夕之間人間蒸發的神秘懸案、十字路口的無人駕駛馬車（十九世紀的特斯拉UBER吧！），那灰濛瀰漫、濕氣漉漉，由開明風氣的海港城市進入到闇影幢幢的濃密森林，就宛如是十九世紀美國浪漫主義作家霍桑的短篇小說《年輕的布朗大爺》（Young Goodman Brown）的清教徒鄉野傳奇。以十七世紀美國新英格蘭地區為背景的《年輕的布朗大爺》與十九世紀德北海港為藍圖的《吸血鬼：諾斯費拉圖》，兩位年輕男子的命運殊路同歸。陰鬱的森林代表主角們心靈的黑暗面，也是超自然世界與世俗城鎮、抑或是開通海港的分界點。與年輕新婚的布朗大爺相似之處（原著短篇小說中妻子之名Faith——「信仰」——即飽含雙重意義），則是因為尼可拉斯霍特飾演的湯馬斯，因為心中永有愛妻，那「愛情」與「信仰」的力量得以支持旅途繼續邁進。但是觀者可一窺遲到大王湯馬斯的莽撞無知，便可以知道其命運隨劇情推進急轉直下。大雨滂拖的早晨，新婚得意的湯馬斯一身潔白襯衫、天鵝絨成套西裝、頭戴深黑高帽、手持文件的自信滿滿，卻被房地產經紀人嘰喳埋怨：「你又遲到了。」而準備騎乘駿馬、身著奶油色寬肩羊毛雙排扣長大衣、搭配淺咖啡羊皮手套與磚紅色斜背郵差包、頭頂寬邊黑呢毛帽與身黑尖頭皮靴的長途旅人，也被位高權重，身著鑲金邊貂皮大衣的奧洛克伯爵低吼咆哮：「你遲到了。」而當恍然大悟，深知自己被醫生與博士設下聲東擊西之計，湯馬斯衣衫不整、灰頭土臉、滿臉驚恐、氣急敗壞趕至已回天乏術的嬌妻身旁，汗流浹背、喃喃自責、淚流滿面對自己無數重複到：「太遲了……」與不諳世事、天真莽撞的新婚湯馬斯相較，繼《燈塔》與《北方人》第三度與羅柏艾格斯回鍋合作的硬底子威廉達佛，其所飾演兼容科學與玄學知識的隱士醫生馮弗朗茨教授，對比拉爾夫伊尼森（Ralph Ineson）飾演總是一身黑色筆挺西裝搭配白襯衫的精神病學專家西弗斯，以及亞倫泰勒強森（Aaron Taylor-Johnson）飾演的信奉科學至上的中產階級、身著成套黑色燕尾服的哈汀先生，是一個不受迫於世俗壓力的局外人和自由思想者，也是新婚夫婦湯馬斯和艾倫，甚至全海港市民或許最值得信賴的救星。總是身著淺咖啡色單排扣多層墊肩大衣、細長煙斗不離手、頭戴黑色軟呢高毛帽，象徵智慧與理性的馮弗朗茨教授，個性與動機趨於幽暗複雜，相當於史托克小說《德古拉》中的吸血鬼獵人凡赫辛，更像是《大法師》中的梅林神父。Photo Credit: UIP《吸血鬼：諾斯費拉圖》劇照表現主義中的服飾語碼：女性主義與身份認同至於莉莉蘿絲戴普（Lily-Rose Depp）飾演的湯馬斯新婚妻子艾倫年輕貌美，家境並不富裕，但是與丈夫純粹的愛，源自深切的關心與守護，如同《年輕的布朗大爺》卻只能淪於誤解與悲嘆。影片初始艾倫的白紗百摺洋裝、耳戴藍白瓷垂墜式耳環，象徵新婚與貞節；但在寄宿於友人哈汀夫婦豪宅中，卻日漸蒼白，癲癇夢遊不斷。枯槁乾屍般的伯爵入侵了她的夢境，將其邪惡誘惑的陰影投射到她熟睡俯臥、吹彈可破的肌膚上。隨著幻覺日益清晰，恐懼感急速加深，艾倫必須面對一股遠遠超出她控制的超自然力量。艾倫的衣衫凌亂、幾近裸體的半瘋癲狀態，莉莉蘿絲戴普的確擺脫不了HBO《偶像漩渦》中扮演性愛狂熱流行歌星角色的陰影，但是沉浸在痛苦與孤寂角色中，充滿情色狂喜的抽搐、後彎以及扭動，的確展現了黑暗的內心掙扎，進而展現出毫無自我意識、純粹本能的狀態演出，讓人不寒而慄。與艾瑪柯林（Emma Corrin）飾演的貴婦夫人，總是多層次蕾絲與金屬鑲邊的明亮色系洋裝相較，莉莉蘿絲戴普飾演的新婚艾倫則多為單層薄紗，重複穿戴藍白瓷垂墜式耳環，卻在與威廉達佛飾演的隱士醫生馮弗朗茨教授商討後，服飾語碼趨近東方宮廷暗黑色系異國風格，逐漸顯現直視命運的身份認同，宛如冰島歌姬碧玉1997年專輯《雌雄同體》封面的哥德版，這也暗喻了天真少女漸進式蛻變為犧牲小我的聖女貞德。臣服於吸血鬼伯爵貂皮大衣下，除了形而上思想的艾倫，另一則是曾在《哈利波特：死神的聖物1》參一腳的英國劇場硬底子賽門麥克伯尼（Simon McBurney），飾演那可憐的諾克先生了。這位被監禁的商人馬屁精以附身方式體現對黑暗勢力屈服、並率先放棄身份認同的個體。他對奧洛克伯爵的慾望和忠誠，泯滅了他生而為人的尊嚴、羞恥、理智、禮儀、服飾、思想、健康與自由，宛如就是《哈利波特》系列中替佛地魔跑腿的蟲尾，半人半鬼。諾克先生的存在，代表本故事災難頻傳的罪魁禍首與英雄的缺失，隨著攝影調度由類似十七世紀荷蘭鮮明光影對比的色澤，趨近低光感黑白默片的絕望，無不令觀者感到前所未有的孤寒。Photo Credit: UIP《吸血鬼：諾斯費拉圖》劇照小結導演羅柏艾格斯在野性放縱與無法言喻的恐懼之間取得敘事平衡，場景在人、鬼與鼠之間交錯轉換——鏡頭以少婦與貴婦並肩行走，卻停留在佈滿十字架的微綠山丘邊陲，隱喻死亡無分貴賤；爾後切換到空曠道路交叉口的東正教十字架，則是象徵抵禦吸血鬼邪惡存在的徒勞。而宛如生化大戰的深咖啡色鼠群，成群進軍文明的德北海港，明喻超自然力量戰勝理性科學主義。驚慌失措畫面浸透著鮮豔的一抹腥紅，是生命力的爆發，也是精神力的消亡。就如同吸血鬼伯爵無血色爛肉，其視覺元素來自十七世紀德國與羅馬尼亞手繪深山居民服飾的草稿，以及1840年代的德語區時尚服裝雜誌《Weiner Moden》，在在致敬了穆瑙1922年執導的黑白默片版本，高度體現了德國表現主義之精髓。綜觀《女巫》、《燈塔》、《北方人》與《吸血鬼：諾斯費拉圖》，羅柏艾格斯所創造的世界如此鮮活沈浸，卻無以逃避隱含在眾多活躍角色間的終極主題：痛苦與孤寂。《女巫》是女性主義的失落、《燈塔》是存在主義的悲哀、《北方人》是懷疑主義的輓歌，而《吸血鬼：諾斯費拉圖》則是表現主義的寓言。在其男性英雄角色缺席、殞落的瞬間，羅柏艾格斯卻輕輕悄悄地，將女性英雌推上巔峰，滿懷希望。備註[1]穆瑙（Friedrich Wilhelm Murnau，1888-1931）於1922年編導《不死殭屍—恐慄交響曲》Nosferatu–Eine Symphonie des Grauens，改編自愛爾蘭小說家布拉姆史托克（Abraham Bram Stoker，1847-1912）1897年哥德派長篇小說《德古拉》Dracula，但因未進行版權交易，以致片名及角色名字均要改換。電影播映後史托克遺孀仍起訴穆瑙，告其侵權。法官判決史托克家族勝訴，並裁定穆瑙需把此片拷貝銷毀。但電影已在其他國家發行，因而為數仍多的拷貝版得以廣為流傳。延伸閱讀影史最強IP《科學怪人》如何誕生？從怪奇少女瑪麗雪萊的瑞士假期說起《不能只有我知道的趣味歐洲史》：德古拉伯爵真有其人！「吸血鬼」的歷史原型是何方神聖？2025第97屆奧斯卡入圍名單：《璀璨女人夢》領跑見證坎城影展影響力，還有那些亮點、紀錄與遺珠？【加入關鍵評論網會員】每天精彩好文直送你的信箱，每週獨享編輯精選、時事精選、藝文週報等特製電子報。還可留言與作者、記者、編輯討論文章內容。立刻點擊免費加入會員！責任編輯：王祖鵬核稿編輯：翁世航"}</script> <script type="application/ld+json">{"@type":"ItemList","@context":"https:\/\/schema.org","itemListElement":[{"url":"https:\/\/www.youtube.com\/watch?v=FByCWR_cJ6w&feature=youtu.be","name":"【吸血鬼：諾斯費拉圖】最新預告 - 2月21日戲院見","@type":"VideoObject","author":{"name":"環球影片官方頻道","@type":"Person"},"embedUrl":"https:\/\/www.youtube.com\/embed\/FByCWR_cJ6w","position":1,"uploadDate":"2024-09-30T08:07:10-07:00","description":"【吸血鬼：諾斯費拉圖】最新預告 - 2月21日戲院見","thumbnailUrl":"https:\/\/i.ytimg.com\/vi\/FByCWR_cJ6w\/hqdefault.jpg"}]}</script> </head> <body class=""> <tnlmedia-header theme="styleLight" lang="zh-tw"></tnlmedia-header> <header 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data-alcohol-content="0" > <article class="section-wrapper js-article-section-wrapper"> <section class="item-wrapper article-header-item-wrapper"> <div class="container" data-bs-theme=light> <div class="row justify-content-center"> <div class="col-12 col-lg-11"> <div class="item-info-wrapper"> <div class="d-flex flex-column-reverse"> <h1 id="article-title-249372" class="h3 item-title default-color">【影評】《吸血鬼：諾斯費拉圖》：表現主義中的寓言與服飾——關於文學作品、女性主義與身份認同</h1> </div> <div class="item-froms"> <time class="small time" datetime="2025/02/22"> 2025/02/22 </time> <a class="btn btn-xs btn-primary btn-tnl-plus-light btn-tnl-plus rounded-0" href="https://www.thenewslens.com/tnl-plus">TNL+</a> <a class="small flex-shrink-0" href="https://www.thenewslens.com/category/movie-tv">影劇</a> <span class="dot"></span> <small class="text-truncate"> <small class="author-wrapper"> <a class="author" href="https://www.thenewslens.com/author/missymindyyuan">明蒂小姐</a> </small> </small> </div> </div> </div> </div> </div> <div class="imgs-wrapper pt-4"> <div class="imgs container"> <div class="row justify-content-center"> <figure class="col-12 col-lg-11"> <div class="img-wrapper ratio ratio-320x192"> <img class="" alt="吸血鬼：諾斯費拉圖劇照" src="https://bucket-image.inkmaginecms.com/version/list/1/image/2025/02/c25da2ef-de2e-4e1d-bcaf-be1a42f92e56.jpg" sizes="(min-width: 1400px) 1076px, (min-width: 1200px) 1021px, (min-width: 992px) 856px, (min-width: 768px) 696px, (min-width: 576px) 516px, 90vw" srcset=" https://bucket-image.inkmaginecms.com/version/hd/1/image/2025/02/c25da2ef-de2e-4e1d-bcaf-be1a42f92e56.jpg 1109w, https://bucket-image.inkmaginecms.com/version/list/1/image/2025/02/c25da2ef-de2e-4e1d-bcaf-be1a42f92e56.jpg 320w, https://bucket-image.inkmaginecms.com/version/mobile/1/image/2025/02/c25da2ef-de2e-4e1d-bcaf-be1a42f92e56.jpg 640w, https://bucket-image.inkmaginecms.com/version/desktop/1/image/2025/02/c25da2ef-de2e-4e1d-bcaf-be1a42f92e56.jpg 1109w, " /> </div> <figcaption class="pt-1 img-froms"> <small class="photo-credit-wrapper text-gray-400"> Photo Credit: UIP </small> </figcaption> </figure> </div> </div> </div> </section> <div class="item-wrapper article-body-item-wrapper"> <div class="container"> <div class="row justify-content-center article-body-item-row"> <div class="col-12 col-lg-11 article-body-item-col"> <div class="article-body-item bg-white py-5"> <div class="item"> <section class="authors-wrapper overflow-hidden mb-5"> <div class="card author-wrapper text-bg-light js-author-wrapper" data-author-id="1771"> <div class="card-body card-padding-sm"> <div class="card-body-item d-flex flex-column flex-md-wrap flex-md-row"> <a class="d-flex item-link align-items-center mw-md-58" href="https://www.thenewslens.com/author/missymindyyuan"> <div class="avatar-wrapper bg-white border border-4 border-white rounded-circle ratio ratio-1x1 w-56px h-56px flex-shrink-0"> <img class="author-avatar rounded-circle" alt="明蒂小姐" src="https://bucket-image.inkmaginecms.com/version/list/1/image/2024/05/544687fa-ef09-4bb1-bab1-825d76142b6b.jpg" /> </div> <div class="h5 text-link-dark card-title mb-0 ps-2 text-style-link">明蒂小姐</div> </a> <p class="card-text multiline-ellipsis-2 mt-3 mb-0 order-md-3 w-100 h6 fw-normal default-color text-muted">喜愛文學，藝術，電影，建築，古典與搖滾樂，時尚攝影雜誌，旅遊，瑜伽，游泳，攀岩，語言，可愛小物與親朋好友。缺乏靈感時就在家裡每個角落走來走去。曾任職大學助理教授，鑽研攝影理論，時尚出版動向，天使學與神話學，也是J.R.R.托爾金研究員。（現與芬蘭夫婿長居赫爾辛基）希望退休後在南法海邊小別墅從事自由創作與電影編劇。</p> <div class="social-btns ms-md-auto mt-3 mt-md-0 d-flex align-items-center justify-content-center order-md-2"> <a class="btn btn-square-xs btn-link text-link-light social-btn" target="_blank" rel="noopener noreferrer" href="https://www.facebook.com/literatureliberty/"><i class="icon fab fa-facebook-f"></i></a> <button type="button" class="btn btn-primary btn-follow ms-auto ms-md-4 js-follow-author-btn opacity-0 animate__animated">追蹤<i class="icon far fa-heart"></i></button> </div> </div> </div> </div> </section> <section class="border border-primary-800 notch-card mb-5"> <div class="h5 headine simple section-title bg-white">我們想讓你知道的是</div> <p class="h6 fw-normal default-color text-muted mb-0 card-padding-lg"> 綜觀《女巫》、《燈塔》、《北方人》與《吸血鬼：諾斯費拉圖》，羅柏艾格斯所創造的世界如此鮮活沈浸，卻無以逃避隱含在眾多活躍角色間的終極主題：痛苦與孤寂。而《女巫》是女性主義的失落、《燈塔》是存在主義的悲哀、《北方人》是懷疑主義的輓歌，《吸血鬼：諾斯費拉圖》則是表現主義的寓言；甚至是，《吸血鬼：諾斯費拉圖》片中的服裝與文學，或明或暗地展開了某種寓言。 </p> </section> </div> <div class="js-advertise ad-content desktop-hide" style="min-height:326px"> <div class="tmgad tmgad-type-flux tmgad-new"> <script type="application/json">{"type":"flux","targeting":{"advertising":["0"],"cabinet":["823388"],"page_key":["article"],"page_name":["article"],"tag_key":["2355","4305","4687","349299","375764"],"tag_name":["\u5f71\u8a55","\u5967\u65af\u5361","\u5438\u8840\u9b3c","2025\u5967\u65af\u5361","\u5438\u8840\u9b3c\uff1a\u8afe\u65af\u8cbb\u62c9\u5716"],"author_key":["missymindyyuan"],"author_name":["\u660e\u8482\u5c0f\u59d0"],"category_key":["movie-tv"],"category_name":["\u5f71\u5287"],"type_key":["review"],"type_name":["\u8a55\u8ad6"],"channel_key":[],"channel_name":[]},"slot":"\/21870649235\/tnl_a_p0","size":[[336,280],[300,250],[1,1]],"mapping":[[[0,0],[[336,280],[300,250],[1,1]]],[[970,0],[]]],"name":"tnl_a_p0"}</script> </div> </div> <section id="article-content-249372" class="item article-body default-color mb-6 mt-5"> <p class="ck-section">愛爾蘭哥德派小說家史托克（Abraham Stoker）於1897年出版的長篇恐怖小說《德古拉》，繼1979年荷索（Werner Herzog）《諾斯費拉圖：夜晚的幽靈》（Nosferatu:The Vampyre）以及2023年大衛費雪（David Lee Fisher）的《諾斯費拉圖：恐怖交響曲》（Nosferatu: A Symphony of Horror）後，2024年再度改編。</p><p class="ck-section">這回由美國編導羅柏艾格斯（Robert Eggers）領軍英美硬底子與新生代班底，三度編修《吸血鬼：諾斯費拉圖》，致敬了德國表現主義大師穆瑙（Friedrich Wilhelm Murnau）於1922年執導的黑白默片《不死殭屍—恐慄交響曲》（Nosferatu, Eine Symphonie des Grauens）。<span style="background-color:rgb(255,255,255);color:rgb(55,65,81);">[1]</span></p><div class="js-advertise ad-content " style="min-height:326px"> <div class="tmgad tmgad-type-flux tmgad-new"> <script type="application/json">{"type":"flux","targeting":{"advertising":["0"],"cabinet":["823388"],"page_key":["article"],"page_name":["article"],"tag_key":["2355","4305","4687","349299","375764"],"tag_name":["\u5f71\u8a55","\u5967\u65af\u5361","\u5438\u8840\u9b3c","2025\u5967\u65af\u5361","\u5438\u8840\u9b3c\uff1a\u8afe\u65af\u8cbb\u62c9\u5716"],"author_key":["missymindyyuan"],"author_name":["\u660e\u8482\u5c0f\u59d0"],"category_key":["movie-tv"],"category_name":["\u5f71\u5287"],"type_key":["review"],"type_name":["\u8a55\u8ad6"],"channel_key":[],"channel_name":[]},"slot":"\/21870649235\/tnl_a_p2","size":[[640,480],[640,360],[300,250],[1,1]],"mapping":[[[970,0],[[640,480],[640,360],[1,1]]],[[336,0],[[300,250],[1,1]]]],"name":"tnl_a_p2"}</script> </div> </div><figure class="image image-type-fluid ck-section"><img src="https://bucket-image.inkmaginecms.com/version/list/1/image/2025/02/bffd08c7-f473-46dc-b4d3-e33c063d140b.jpg" data-bucket-id="2988590" width="320" height="190" data-width="1075" data-height="638" srcset="https://bucket-image.inkmaginecms.com/version/hd/1/image/2025/02/bffd08c7-f473-46dc-b4d3-e33c063d140b.jpg 1075w,https://bucket-image.inkmaginecms.com/version/list/1/image/2025/02/bffd08c7-f473-46dc-b4d3-e33c063d140b.jpg 320w,https://bucket-image.inkmaginecms.com/version/mobile/1/image/2025/02/bffd08c7-f473-46dc-b4d3-e33c063d140b.jpg 640w,https://bucket-image.inkmaginecms.com/version/desktop/1/image/2025/02/bffd08c7-f473-46dc-b4d3-e33c063d140b.jpg 1075w" loading="lazy" alt="《吸血鬼：諾斯費拉圖》劇照"><p class="source ">Photo Credit: UIP</p><figcaption>《吸血鬼：諾斯費拉圖》劇照</figcaption></figure><h2 class="paragraph-title paragraph-title ck-section">表現主義與文學作品</h2><p class="ck-section">美國導演羅柏艾格斯最初在紐約市大小劇場擔任舞台劇美術指導與劇裝設計師。2015年推出執導處女作《女巫》，宛如美國浪漫主義作家霍桑（Nathaniel Hawthorne，1804-1864）以十七世紀美國新英格蘭地區女巫審判事件為背景的民間傳說，觀者似乎吞嚥了柴煙、迷信與恐怖的肅殺氣息。</p><p class="ck-section">2019年則網羅威廉達佛（Willem Dafoe）與羅伯派汀森（Robert Pattinson），改編自1801年威爾斯職災事故的《燈塔》，在座幾乎體驗到冰寒海流穿刺肌膚，侵蝕了意志與理智。</p><p class="ck-section">到了2022年的《北方人》二度與威廉達佛和安雅泰勒喬伊（Anya Taylor-Joy）合作，並號召影后妮可基嫚（Nicole Kidman）、瑞典男星亞歷山大史柯斯嘉（Alexander Skarsgard）以及冰島歌姬碧玉（Björk）演繹莎翁悲劇《哈姆雷特》的北歐史詩版——那野蠻、荒蕪、嚴酷的家族輓歌，在在迫使觀者直視冷血謀殺、精密復仇、欲望受挫的終極矛盾。</p><p class="ck-section">羅柏艾格斯的電影建構並非奠基於原創故事或角色，而是探索並接受了特定時期語言的節奏和特點，其劇本充滿了繁複的詛咒和華麗的辭藻，加諸運用偏黑白色調與低光調度，以及劇裝設計師的背景，其布料的考究、服飾的細節與劇中角色發展同時並行。</p><div class="js-advertise ad-content " style="min-height:326px"> <div class="tmgad tmgad-type-general tmgad-new"> <script type="application/json">{"type":"general","targeting":{"advertising":["0"],"cabinet":["823388"],"page_key":["article"],"page_name":["article"],"tag_key":["2355","4305","4687","349299","375764"],"tag_name":["\u5f71\u8a55","\u5967\u65af\u5361","\u5438\u8840\u9b3c","2025\u5967\u65af\u5361","\u5438\u8840\u9b3c\uff1a\u8afe\u65af\u8cbb\u62c9\u5716"],"author_key":["missymindyyuan"],"author_name":["\u660e\u8482\u5c0f\u59d0"],"category_key":["movie-tv"],"category_name":["\u5f71\u5287"],"type_key":["review"],"type_name":["\u8a55\u8ad6"],"channel_key":[],"channel_name":[]},"slot":"\/21870649235\/tnl_a_p6_special","size":[[640,480],[640,360],[320,480],[300,250],[1,1]],"mapping":[[[970,0],[[640,480],[640,360],[1,1]]],[[336,0],[[320,480],[300,250],[1,1]]]],"name":"tnl_a_p6_special"}</script> </div> </div><figure class="image image-type-fluid ck-section"><img src="https://bucket-image.inkmaginecms.com/version/list/1/image/2025/02/d62fd7dd-23e8-413b-a5b2-66ec6da4df74.jpg" data-bucket-id="2988601" width="320" height="192" data-width="1063" data-height="639" srcset="https://bucket-image.inkmaginecms.com/version/hd/1/image/2025/02/d62fd7dd-23e8-413b-a5b2-66ec6da4df74.jpg 1063w,https://bucket-image.inkmaginecms.com/version/list/1/image/2025/02/d62fd7dd-23e8-413b-a5b2-66ec6da4df74.jpg 320w,https://bucket-image.inkmaginecms.com/version/mobile/1/image/2025/02/d62fd7dd-23e8-413b-a5b2-66ec6da4df74.jpg 640w,https://bucket-image.inkmaginecms.com/version/desktop/1/image/2025/02/d62fd7dd-23e8-413b-a5b2-66ec6da4df74.jpg 1063w" loading="lazy" alt="《吸血鬼：諾斯費拉圖》劇照"><p class="source ">Photo Credit: UIP</p><figcaption>《吸血鬼：諾斯費拉圖》劇照</figcaption></figure><h2 class="paragraph-title paragraph-title ck-section">表現主義中的服飾語碼：新生代與硬底子</h2><p class="ck-section">2024年，羅柏艾格斯致敬穆瑙德國表現主義風格的《吸血鬼：諾斯費拉圖》那令人毛骨悚然的性渴望，以青苔滿佈的斷垣殘壁和低光區躁點顆粒感突出的陰鬱氣氛，枯乾爪手的巨大暗影投射在德北海港城市Wisborg寂靜的上空，宛如無人機航行，隱隱訴說角色之間的性焦慮與性障礙的不安。</p> </section> <div class="article-mask-box js-article-mask-box"> <div class="article-mask"> <div 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【影評】《吸血鬼：諾斯費拉圖》：表現主義中的寓言與服飾——關於文學作品、女性主義與身份認同 - TNL The News Lens 關鍵評論網