從許冠文作品看1970年代香港喜劇電影的現代化、諧星形象及觀賞心理

1970年代香港都市現代化急速發展，逐漸形成了一種中外混雜的本土流行文化，其中許冠文自編自導並主演的粵語喜劇電影緊貼著時代脈搏，當時極受歡眾歡迎，大大改變了香港喜劇電影的風貌。本文回顧許氏頭四部影片，探討這些作品的特色，及其如何標誌著喜劇電影在內容以至形式上的現代化，然後借用R.A.馬丁等人有關心理適應性的四種幽默風格理論，分析許冠文早期諧星形象的特質和變化。最後結合使用優越論、釋放論及乖訛論這三種基本幽默理論，闡述觀賞許氏喜劇片可能涉及的矛盾複雜心理。期望本研究能引發喜劇電影歷史、風格演變及觀賞心理等方面更深入的探討。
Hong Kong witnessed a rapid process of urban modernization in the 1970s and a local popular culture mixing Chinese and foreign elements was formed. In this historical context, Michael Hui Koon-man's comedy films were hugely popular; he not only starred in those films but also served as the scriptwriter and director. Attending closely to new changes of the age, his films had significantly changed the style of Hong Kong comedy films. This article begins with an overview of his first four films, explicating their features and explaining how they represent the modernization of Hong Kong comedy films in terms of content and form. Then it analyzes the characteristics and development of Hui's early comedic persona, having recourse to R.A. Martin et al.'s theory of four humor styles concerning psychological adaptability. Finally, it explores the ambivalent and complicated psychology of viewing comedy films, making use of three fundamental humor theories, namely, superiority theory, incongruity theory, and relief theory. It is hoped that this research will stimulate further discussions on comedy film history, evolution of style, psychology of viewing and other related aspects of film studies. Copyright © 2021 National Kaohsiung Normal University.