戏影之皮： 张吉安电影《南巫》“戏”的谱系与“万物有灵”美学

The Skins of Shadow: A Genealogy of "Theatrics" And The Aesthetic of Animism in Chong Keat Aun’s The Story of Southern Islet

Abstract

本研究以张吉安电影《南巫》为对象，旨在探讨导演如何运用长镜头、景深、 画外音和固定机位，构成“万物有灵论”美学。论文聚焦于该美学如何将镜头与 场景“戏台/舞台”化，使场景、对象、人与非人在该场域中展演可见与不可见、 历史与禁忌、官方叙事与私人记忆。进一步，皮影戏作为电影的关键元素，本研 究将分析张吉安如何将上述光影艺术与电影建构成“戏”的谱系。皮影戏在《南 巫》中承载了民间信仰与边界叙事。导演透过“戏中戏”结构，链接传统艺术中 模糊人神鬼界线的特质，并将此系谱与其电影美学相结合，以关怀和探问历史阴 影中的集体创伤和政教禁忌。

关键词：张吉安，“万物有灵论”，美学，皮影戏

This study examines Chong Keat Aun's film The Story of Southern Islet (Nan Wu), exploring how the director employs long takes, depth of field, off-screen sound, and fixed camera positions to construct an aesthetic of animism. The paper focuses on how this aesthetic “theatricalizes” or “stages” the camera and its scenes, transforming settings, objects, humans, and non‑humans into a performative arena where the visible and the invisible, history and taboo, official narratives and private memories are enacted. Furthermore, Wayang Kulit or shadow puppetry emerges as a key cinematic element. This study analyzes how Chong integrates this art of light and shadow with cinema to form a genealogy of “Theatre” (xi). In The Story of Southern Islet, shadow puppetry carries folk beliefs and border narratives. Through a “play‑within‑a‑play” structure, the director channels the traditional art’s capacity to blur the boundaries between humans, gods, and ghosts. By aligning this genealogy with his cinematic aesthetics, Chong addresses and interrogates the collective trauma and politico‑religious taboos that lie in the shadow of history.

Keywords: Chong Keat Aun, Animism aesthetic, shadow puppetry