Name: 電影文學：拉丁美洲文學入門 EP12 🚀 (Film & Literature: Crash Course Latin American Literature #12)
Uploaded: 2026-02-22T21:41:43.000Z
Duration: 10 min 56 s

In 1930s Argentina, a young boy grew up going to his local movie theater, sitting in the same seat five nights a week for 10 years.

在 1930 年代的阿根廷，有個小男孩每週有五個晚上都會去家附近的電影院，坐在同一個位子上，一連坐了十年。

It was there, in front of the silver screen, from a seat perfectly shaped to his bumpies, that he fell in love with the glamour of it all.

就是在那裡，在銀幕前，坐在一個完美貼合他屁股的位子上，他愛上了那一切的魅力。

And do you know who that little boy turned out to be?

你知道這個小男孩後來變成誰了嗎？

The boy turned out to be a beloved novelist.

這個小男孩後來變成了一位備受喜愛的暢銷小說家。

I was just making sure you were paying attention.

我只是想確認一下大家有沒有在認真聽。

Hi, I'm Curly Velazquez and this is Crash Course Latin American literature.

嗨，我是 Curly Velazquez，這是 Crash Course 拉丁美洲文學。

Does art imitate life or does life imitate art?

藝術模仿生活，還是生活模仿藝術？

These are some of my favorite questions, because there's no one way to answer them.

這些問題我都很喜歡，因為沒有標準答案。

Art and life imitate each other in countless ways that span the entire globe.

藝術與生活以無數跨越全球的方式互相模仿。

And all of human history and literature is no exception.

而整個人類歷史與文學也不例外。

It's influenced by history, politics, science, even other kinds of art.

它受到歷史、政治、科學，甚至是其他藝術形式的影響。

And on the flip side, literature influences life and culture right back.

反過來說，文學也會回過頭來影響生活與文化。

So today we'll zoom in and look at one very special relationship, the one between film and literature.

所以今天我們要聚焦，來看看一個非常特別的關係，也就是電影與文學之間的關係。

You've probably seen your share of book to screen adaptations, the Good, the Bad and the Ugly, but

你可能看過不少從書本改編成電影的作品，像是《好傢伙、壞傢伙、醜傢伙》，但

What's often considered far less is the way that movies show up in books.

比較少被認為的是電影如何出現在書本裡。

Which brings me back to that little boy in the theater.

這讓我想起那位電影院裡的小男孩。

he went on to become a huge name in Latin American literature after his filmmaking career flopped.

他後來成為拉丁美洲文壇巨擘，儘管他拍電影的事業卻碰壁了。

But despite switching from film to books, he found a way to meld the two by infusing his love for cinema into many of his novels.

但即使他從電影轉向寫書，他還是找到方法將對電影的熱愛融入他的許多小說中，巧妙地結合了兩者。

是時候進入「捲捲筆記」單元了。

Puig's novel El Beso de la Mojer, the Kiss of the Spider Woman, is set in 1970s Buenos Aires and tells the story of two men sharing a prison cell.

Puig 的小說《蜘蛛女之吻》（El Beso de la Mujer）背景設定在 1970 年代的布宜諾斯艾利斯，講述了兩個男人共用牢房的故事。

Valentin, a political prisoner, and Molina, a gay man arrested for allegedly corrupting a minor.

一位是政治犯 Valentin，另一位是因涉嫌引誘未成年人而被捕的同志 Molina。

And it sort of resembles a screenplay in that it's written mostly in dialogue.

而且這部小說寫得大部分都是對話，有點像劇本。

Aside from their dismal situation, the two men don't have much in common.

除了處境艱難之外，這兩個男人並沒有太多共同點。

So to pass the time, Molina recounts his favorite Hollywood movies to Valentin.

所以為了打發時間，Molina 會跟 Valentin 講他最喜歡的幾部好萊塢電影。

And like a movie cuts between scenes, Buig weaves these stories with scenes of the men's daily lives in prison and their growing closeness.

就像電影會在不同場景間切換一樣，Puig 將這些故事穿插著描寫兩個男人在獄中的日常生活以及他們日益增長的情感。

For Molina and Valentin, films become an escape from their confinement.

對 Molina 和 Valentin 來說，電影成了逃離牢籠的一種方式。

And Fuik really believed in this ability of films to help us transcend reality.

而且 Fuik 真的相信電影有這種讓我們超越現實的能力。

He told a New York Times reporter that movies help you to not go crazy.

他告訴《紐約時報》的記者，電影能幫助你保持理智。

It doesn't matter that the way of life shown by Hollywood was phony.

即使好萊塢展現的生活方式是虛假的，也沒關係。

Like Molina, Puig was a gay man who turned to movies for inspiration and relief from his homophobic upbringing and culture.

就像 Molina 一樣，Puig 也是一位同性戀者，他從電影中尋求靈感，並從恐同的成長環境和文化中得到慰藉。

As a child, he dressed up as the Hollywood starlets he adored, an activity his father punished him for.

小時候，他會打扮成他崇拜的好萊塢女明星的樣子，這項活動被他父親懲罰。

But for Puig, movies and novels were about even more than escapism.

但對 Puig 來說，電影和小說的意義不僅僅是逃避現實。

They were also about change, real social change in the real world.

它們也關乎改變，關乎真實世界裡的真正社會變革。

Kiss of the Spider Woman was published in 1976, the same year that he left Argentina in exile, and

《蜘蛛女之吻》於 1976 年出版，同年他因流亡離開阿根廷，

it was immediately censored by the military dictatorship it boldly critiqued.

並立即遭到它所大膽批判的軍事獨裁政權的審查。

The Uruguayan American author Caro de Robertis writes that Kiss of the Spider Woman was the first Latin American novel to directly link political liberation with the dignity of queer love.

烏拉圭裔美國作家 Caro de Robertis 寫道，《蜘蛛女之吻》是第一本直接將政治解放與同志之愛尊嚴連結起來的拉丁美洲小說。

Two men in a room talking to each other becomes a microcosm of a dialogue that the culture desperately needs to have with itself, without which no one will be free.

兩個男人在房間裡互相交談，成為了文化迫切需要與自身進行的對話的縮影，沒有這場對話，沒有人會獲得自由。

And to tie it all in a bow, Kiss of the Spider Woman has been adapted to film twice and total humble brag.

為了完美收尾，說到《蜘蛛女之吻》曾兩度被改編成電影，這真的讓人很驕傲。

My friend Donatio is in the remake with J.

But Puig was far from the only Latin American author to take meaning and inspiration from movies.

但 Puig 絕非唯一從電影中汲取意義和靈感的拉丁美洲作家。

In fact, Chilean writers Alberto Fuguet and Sergio Gomez started a whole pop culture inspired literary movement in the 90s.

事實上，智利作家 Alberto Fuguet 和 Sergio Gomez 在 90 年代發起了一個完全受流行文化啟發的文學運動。

The story behind it, it's brilliant, but it's also petty.

它的背後故事很精彩，但也有些小鼻子小眼。

Back in the 1970s, a genre called magical realism put Latin American literature on the map.

回到 1970 年代，一種叫做魔幻寫實的文學類型讓拉丁美洲文學聲名鵲起。

Readers around the world and the publishing gatekeepers who decided which books would get translated and sold in their countries couldn't get enough of books like 100 Years of Solitude and the way that Gabriel Garcia Marquez infused the ordinary with the magical.

全世界的讀者以及決定哪些書會被翻譯並在他們國家銷售的出版界人士，都對《百年孤寂》這類書籍以及加布列·賈西亞·馬奎斯將平凡融入魔幻的方式愛不釋手。

But by the 1990s, the magical realism label was weighing heavily on Latin American writers.

但到了 1990 年代，「魔幻寫實」這個標籤開始讓拉丁美洲作家感到沉重。

It painted only one image of Latin America, and it was how they were all expected to write.

它只描繪了拉丁美洲的一個樣貌，而且大家都被期待要這樣寫。

As the story goes, he received a pretty brutal rejection from a US editor who dismissed his work because it didn't engage with magical realism, shunned Marquez and challenged the idea that in Latin American literature and everyone wears sombreros and lives in trees.

故事是這樣的，他收到一位美國編輯相當嚴厲的拒絕，編輯認為他的作品沒有運用魔幻寫實，而忽略了馬奎斯，並質疑拉丁美洲文學就是大家都要戴著寬邊帽住在樹上的這種想法。

It's enough to make you want to start a whole new literary movement as petty revenge.

這足以讓你想要發起一個全新的文學運動，來小小報復一下。

It all kicked off with a short story anthology that Fouguet and Gomez published in 1996 named Macondo, which featured not a drop of magical realism.

這一切都始於 Fuguet 和 Gomez 在 1996 年出版的一本短篇小說集，叫做 Macondo，裡面完全沒有魔幻寫實的影子。

Macondo, which became the name of a literary movement, was a reaction to the assumption that Latin American literature could be boiled down to one thing.

Macondo，後來也成了這個文學運動的名字，是對「拉丁美洲文學只能有一種樣貌」這種假設的反擊。

But it wasn't a mere refusal of what came before them.

It was an expansion of what Latin American lit could look like.

而是擴展了拉丁美洲文學的可能性。

Rather than telling stories of yellow flowers raining down from the sky, Mecondo literature was devoted to exploring gritty modern day realism with pop culture references and hallmarks of the modern urban experience.

Mecondo 文學不像故事裡會下起黃色花雨，而是致力於探索充滿活力的現代寫實主義，融入流行文化元素和現代都市生活的特徵。

Even the name Mecondo is a pun on Garcia Marquez's legendary Macondo.

甚至連 Mecondo 這個名字，都是對 Garcia Marquez 傳奇的 Macondo 的雙關語。

The setting of One Hundred Years of Solitude.

Fugue writes, In Mecondo, there's McDonald's, Mac, computers and condos.

Fugue 寫道，在 Mecondo，有 McDonald's、Mac 電腦和公寓。

In other words, nothing magical but the stuff of everyday culture.

換句話說，沒有什麼魔幻的，只有日常文化的素材。

And as the poet Beyonce says, the best revenge is your paper.

就像詩人 Beyonce 說的，最好的報復就是你的成就。

The Mecondo movement led to some incredible work like Fuguet's 2002 novel Las Pelliculas de Mi Vida the Movies of My Life.

Mecondo 這股風潮也催生了一些令人驚豔的作品，像是 Fuguet 在 2002 年出版的小說《Las Pelliculas de Mi Vida》（我人生的電影）。

It's written from the point of view of a seismologist, Beltran Soler, as he looks back on his life through the lens of movies.

這本小說以一位地震學家 Beltran Soler 的視角書寫，他透過電影回顧自己的人生。

Fuguet divides the middle section of the novel into 50 chapters, each dedicated to a specific film and moment.

Fuguet 將小說的中間部分抽成 50 章，每一章都聚焦在特定的電影和時刻。

In Beltran's youth, Dumbo is the backdrop for his fears of maternal abandonment, Close Encounters of the Third Kind explores complex feelings towards his father, Oliver encompasses the family's struggles with homelessness, B movie disaster films underscore his journey to his chosen profession, and

在 Beltran 的年輕時期，《小飛象》是他對母親拋棄恐懼的背景、《第三類接觸》則探索了他對父親複雜的情感、《奧利佛》涵蓋了家人無家可歸的掙扎、B 級災難片則突顯了他走向職業的歷程，而

Soylent Green is a vehicle for understanding Beltran's shock at moving back to Chile from Southern California.

《變種人》則是理解 Beltran 從南加州搬回智利時的震驚的載體。

These cultural touchstones not only help Beltran make sense of his life, but

這些文化符號不僅幫助 Beltran 理解他的人生，

they bring us into his world, acting as a sort of shortcut to emotional and thematic understanding.

也將我們帶入他的世界，像是快速理解情感和主題的捷徑。

And for readers like me, pop culture references in books can help us relate more deeply to the story.

而對我這樣的讀者來說，書中的流行文化參考能讓我們更深刻地與故事產生連結。

Characters who watch the same movies, I do feel familiar, even if their situations and storylines aren't like the protagonist of Clarissis Lispector's novel, the Hour of the Star, is obsessed with Marilyn Monroe.

觀看相同電影的角色，即使他們的情境和故事情節與主角不同，我仍感到熟悉，就像 Clarissis Lispector 的小說《星辰時刻》中的主角著迷於瑪麗蓮夢露一樣。

Kind of like how I'm obsessed with Selena.

But like I said at the start, all of this artistic and cultural exchange, it doesn't just flow in one direction.

但就像我一開始說的，所有這些藝術和文化的交流，都不是單向的。

Books are a huge source of inspiration for filmmakers too, sometimes indirectly, like how Christopher Nolan cited Jorge Luis Borges as an inspiration behind his blockbuster film Inception, and

書籍也是電影製作人的一大靈感來源，有時候是間接的，就像克里斯多福·諾蘭曾說過，喬治·路易斯·波赫士是他賣座電影《全面啟動》的靈感來源，

sometimes directly, like when a filmmaker adapts an author's text for the screen.

有時候是直接的，就像電影製作人將作者的作品改編成電影。

Now, if you've ever found yourself in a heated debate about which did it better, the book or the movie, I feel you a bad adaptation of a beloved Text is one of my biggest pet peeves, but

現在，如果你曾經陷入一場關於書和電影哪個比較好的激烈辯論，我懂你，爛改編我最討厭了，但

I'm also not a reader who demands word for word faithfulness in an adaptation, because when you're adapting a written work into a film, it's more about capturing a vibe.

我也不是那種要求改編要逐字忠實的讀者，因為當你把一部文學作品改編成電影時，重點是捕捉那種氛圍。

The translator Ros Schwartz, likens it to translating a text from one language to another.

翻譯家 Ros Schwartz 將其比喻為將文本從一種語言翻譯成另一種語言。

The goal isn't literal accuracy, it's to distill the spirit of the original.

目標不是字面上的準確，而是提煉出原作的精神。

Few adaptations are more vibey than Blow Up, Michelangelo Antonioni's take on Julio Cortazar's short story Las Babas del Diablo, the Devil's Drool.

少有改編比《春光乍洩》更有氛圍了，這是米開朗基羅·安東尼奧尼改編自胡利奧·柯塔薩爾的短篇小說《魔鬼的唾液》。

It's set in the swinging London of the 1960s and follows a fashion photographer named Thomas who maybe catches a crime on camera.

故事背景設定在 60 年代的倫敦，跟隨著一位名叫湯瑪斯的時尚攝影師，他可能在相機裡捕捉到了一樁罪案。

And a lot changed in the move from page to screen.

從書本到螢幕，也發生了很多改變。

In Cortazard's story, the protagonist is named Michel and he's an amateur photographer and translator in Paris, a lot like Cortazarcel, and

在柯塔薩的短篇故事裡，主角叫做米歇爾，他是一位業餘攝影師兼翻譯，住在巴黎，跟柯塔薩本人很像，

what he accidentally captures on camera is a much different act.

而他意外在相機裡捕捉到的，是截然不同的事件。

But at their core, both stories are exploring the photographer's relationship with reality, as one film critic put it.

不過，兩部作品的核心都在探討攝影師與現實的關係，正如一位影評人所說。

not the book, further entrench Cortazar's ideas, but with Antonioni's flair.

書裡沒有的場景，進一步鞏固了柯塔薩的理念，同時也展現了安東尼奧尼的風格。

When Cortazar saw Blow up for himself, he said he had the feeling that Antonioni was winking at me and that we were meeting above or below our differences.

當柯塔薩自己看了《春光乍洩》後，他說他感覺安東尼奧尼在對我眨眼，我們在彼此的差異之上或之下相遇了。

Of course, Ortazar's story is far from the only work of Latin American literature that scored a famous adaptation.

當然，柯塔薩的故事絕非拉丁美洲文學中唯一一部被改編成著名電影的作品。

Tons of the novels we've talked about in this series have their own, like in the Time of the butterflies, 100 Years of Solitude, the House of the Spirits and Fever Dream.

在這個系列裡我們討論過的小說，很多都有自己的改編電影，像是《蝴蝶的時代》、《百年孤寂》、《靈魂的居所》和《發燒的夢》。

So keep your popcorn buttered for Latin American movie night.

所以，請準備好爆米花，迎接拉丁美洲電影之夜吧。

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電影文學：拉丁美洲文學入門 EP12 🚀 (Film & Literature: Crash Course Latin American Literature #12)

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