Name: 潘氏迷宮不聽話的童話 (Pan's Labyrinth: Disobedient Fairy Tale)
Uploaded: 2021-01-14T07:58:19.000Z
Duration: 8 min 22 s

I think it's okay to start my analysis of Guillermo del Toro's Pan's Labyrinth with a spoiler.

我覺得以爆雷來開始分析吉勒摩．戴托羅的羊男的迷宮是合理的

Ofelia, the main character, she... dies at the end.

轉承詞

I feel fine doing that because del Toro does the exact same thing with his movie.

我不覺得說出來很正常，因為戴托羅在他的電影裡也做了同樣的事

The first shot of Pan's Labyrinth is the ending.

羊男的迷宮的第一幕就是它的結尾

And it's also the first way in which del Toro complicates that ending.

這也是戴托羅使結局變得複雜的第一種方式

But before we get into that: a few things about fairy tales.

但在我們講到那裏以前：有幾件關於童話的事

For most of us the authoritative source for fairy tales is Walt Disney.

對於大部分的人來說，我們童話的主要來源是來自迪士尼

And that's no accident. Disney set out to claim that authority when he made films like:

這不是偶然的。迪士尼在製作下列電影時，開始建立權威

Snow White, Cinderella, or Sleeping Beauty,

這些電影像是白雪公主、灰姑娘和睡美人

by adapting folk tales in the public domain and copyrighting the adaptations.

他們透過改編民間寓言故事和對這些改編故事進行版權保護

Still, because film was a relatively new medium

但是，因為電影仍是相對較新的媒介

capturing the authority he wanted required Disney to remain faithful to the original versions of these stories

要獲得迪士尼想要的權威，他們得對 Charles Perrault 和格林兄弟所盛行

popularized by Charles Perrault and the Brothers Grimm.

He made the transition from print to cinema as smooth as possible for the audience.

他幫助觀眾從圖片順暢地轉換到電影

Even going so far as to begin his movies with the opening of a book.

他甚至通過翻開一本書來開始他的電影

Disney was smart. His films are now regarded as classics.

迪士尼很聰明，他的電影現在被認為是經典

And yet, by remaining so faithful to the stories' 19th century antecedents,

然而，通過保持對 19 世紀版的忠實

he inherited - and furthered - their 19th century morality

他繼承並進一步推行了 19 世紀的道德價值

a conservative, patriarchal, value system,

一種保守的且重男輕女的價值體系

in which the prince always comes to save the helpless heroine.

故事裡，王子總會拯救無助的女主角

A value system that was antiquated even then.

這是一個即使在那時代也是過時的價值體系

In this way Disney limited the kinds of things a fairy tale can do.

迪士尼以這種方式限制了童話故事所能做的事情

In Pan's Labyrinth Guillermo del Toro attempts to explode these limitations

在羊男的迷宮裡，戴托羅嘗試突破這些限制

and he does so by re-contextualizing these stories.

Instead of pulling from a single authoritative source

del Toro pulls from a huge number of sources, giving none precedence over the others,

戴托羅從各種地方參考，沒有讓任何一個故事擁有較強烈的價值觀

and letting them all play against one another to create meaning.

他讓這些故事與彼此抗廷以創造新的意義

The film tells the story of the little girl, Ofelia, and her mother, Carmen,

電影講述了關於一個小女孩奧菲莉亞和他的媽媽卡門在西班牙內戰五年後

as they go to live with the hyper-fascist Captain Vidal five years after the Spanish Civil War.

Vidal is trying to snuff out the last remnants of rebellion in the mountains,

維多試圖扼殺山區最後的叛亂殘黨

While Ofelia becomes ensnared in a magical quest after a faun tells her she is the lost princess of an underground realm.

在牧神告訴奧菲莉亞她是一個地下王國失落的公主之後，她陷入追求奇幻世界的任務

From here the story spins out into two parallel narratives,

從這裡開始，故事分歧成兩個平行的故事

the magical quest and the political drama.

Crucially, neither of these narratives becomes reduce-able to the other.

更重要的是，這兩個故事不會與彼此衝突

del Toro makes a point of this by entwining them in ways that makes any totalzing explanation problematic.

戴托羅透過將兩個故事纏繞在一起使任何概括性的解釋變得複雜

At the end of the film, for example, we get what seems to be the nail in the coffin for the magical quest

以電影的最後為例，我們似乎看到了即將失敗的魔法任務

Vidal approaches Ophelia speaking with the faun, and when the camera cuts to his point of view:

維多在奧菲莉亞跟牧神講話時接近她，當鏡頭轉到維多的視角時

This appears to be solid evidence for those that read Ofelia's quest as a coping mechanism for her sad life.

這是個證明佐證奧菲莉亞的試煉只是她對於她悲慘的人生的應對機制

But if we back up we can see how del Toro complicates that reading by remembering that Vidal

但是，如果我們倒帶，我們看到戴托羅讓故事變得複雜，他讓維多

has just been drugged with a heavy dose of sleeping medication.

In other stories drug-induced hallucinations are used to explain away why people see the supernatural.

在其他故事中，藥物引起的幻覺被用來解釋為什麼人們會看到超自然現象

But in Pan's Labyrinth it's the opposite.

但是在羊男的迷宮，這卻是相反的功用

del Toro uses the device to destabilize our trust in Captain Vidal's point of view.

戴托羅用這個手法動搖我們對維多的認知

Here - and elsewhere - the film refuses to obey our desire

電影以拒絕服從，作為每個人的慾望

Of course disobedience is a major theme in this film.

Whereas in many fairy tales disobedience is the act that sets the story in motion

然而，在很多童話故事哩，不服從是將故事推進的動作

here disobedience is framed as a vital and important quality.

但在這裡，不服從被設計為很重要的元素

There's the disobedience of the rebels who seek to free Spain from the grip of fascism,

這裡有反叛軍企圖解放在法西斯統治下的西班牙的反叛

The disobedience of Mercedes who works with the rebels,

也有瑪莎迪絲為反叛軍做事的不服從

and - of course - the disobedience of Ofelia.

Who, by turns, questions and disregards the commands of her mother, the Captain, and the faun.

她一而再的質疑且忽視她的母親、少校和牧神的命令

But the most effective and - I think - impressive disobedience here is that displayed within the very text of the movie.

但我認為最有效的且令人印象深刻的不服從是在電影的正文中顯示的

And this is where del Toro's intense referencing comes into play.

而這就是戴托羅密集地借鏡別的故事所發揮作用的地方

The name of the game here is multiplicity.

Undermining a single authoritarian master narrative, like those championed by Vidal and fascism in general

通過建立一個互文的網絡使電影中的意義變成一種選擇

by setting up a network of intertexts that make meaning a matter of choice.

戴托羅破壞了單一威權主義，就像維多和法西斯主義所倡導的那樣

Think of all of the linking references in the pale man scene, for example,

以瞳魔的景為例，你可以想像所有的景所借鏡的典故

you have the ogre himself, nodding to other child-eating ogres in other mythologies, like Krampus,

你有了個食人怪以其他神話中為借鏡的吃小孩的食人魔，像是坎卜斯

it also refers to the Greek Titan Kronos who devoured his god children in order to -

它也指希臘的巨人羅諾斯吞噬他的神子

like fascist Spain - keep the young from replacing them and coming into their own.

就像是法西斯西班牙一樣–防止孩子取代自己並成長獨立

Also it should be noted that Cronos is the title of del Toro's first film. One of many things that links his body of work together.

你也該注意克洛諾斯是戴托羅的第一部電影的片名。這是將他的工作聯繫在一起的許多事情之一

The table itself links back to the banquet scene earlier in the film,

桌子本身讓人回想到電影早些的宴會場景

putting the pale man in the same position as Vidal,

他讓瞳魔坐在與維多同樣的位置

The pile of shoes link forward and will go on to re-contextualize Ofelia's red shoes,

成堆的鞋子將奧菲莉亞的紅鞋連結在一起

這也連結到 1948 年 Powell 和 Pressburger

and the 1948 film by Powell and Pressburger.

Re-contextualized as images reminiscent of the piles of clothes from Nazi concentration camps.

重建這景象也是借鏡納粹集中營裡成堆的衣服

And the scene itself functions as a metaphor for how

beauty, like, say, the beauty of old fairy tales, can enchant us into certain lines and ways of thinking

古老的童話故事中的美，讓我們迷上一些

Here you have constructed a vast network of citation that reaches elsewhere in the film and, outside of it.

在這裡，你構建了一個龐大的借鏡網絡，可以在電影告處找到，或是在電影外發現

The lines of that network are for the viewers to follow as they see fit.

這些線索提供給觀眾按照他們自己認為合適的方式去追尋

del Toro laces these references together with camera work and editing to achieve a narrative momentum

戴托羅用鏡頭和剪輯將這些借鏡放在一起好講述他的故事

that's undeniable when you watch his movies.

當你在看電影時，這點是無庸置疑的

It was the purpose of Vidal, like it is the purpose of all authoritarian regimes, or patriarchal, moralistic, fairy tales

這就是維多這腳色的目的，就像所有專制政權的目的一樣，或是父權體制、道德主義、童話故事

to limit the number and kind of stories that can be told from a set of facts or events.

它們用來限制了故事的數量和種類

這的確將這些點限制為單一故事

In old fairy tales the stories were closed out and contained by two words:

在古老的童話故事中，故事結束並以兩個詞作結：

del Toro's genius is to use - perhaps - this most formulaic genre of all

戴托羅用運他的才能去用這最刻板的類型去

and disobey our expectations of how it should unfold and how it should end.

背離我們對故事線和結局的期望

The rebels capture and kill Vidal, but Spain will continue

反叛軍抓到了維多，但是西班牙持續

under authoritarian dictatorship for thirty years.

You can read that as a poetic ending to a sad story,

你可以解讀它為一個有充滿詩意結局的悲劇

or Ophelia's final choice of the story she wants to tell for and about herself.

奧菲莉亞最後的選擇是她所講述的關於自己的故事

Of course, she doesn't have to choose at all.

For even when she returned to the world of magic, it is said, she left small traces

即使她回到了奇幻世界，我們也可以說，她在地球上也留下了

Visible to those who know where, and how, to look.

這些只有知道該往哪看、如何看的人才會知道

字幕列表影片播放

潘氏迷宮不聽話的童話 (Pan's Labyrinth: Disobedient Fairy Tale)

purpose

scene

narrative

cope