由精神分析学中的偷窥理论看希区柯克电影中的偷窥文化
Hitchcock and his unique style have occupied an important place in the history of Hollywood films and even the history of the world cinema at large
希区柯克以及其独特风格的“希区柯克式电影”在好莱坞电影史，乃至整个世界电影的历史上，都占据了一席重要之地。这位出生于英国，成名于英国，同时又在美国大放异彩的电影导演，已经超越了地域的界限，一跃成为世界电影史上最伟大的导演之一。希区柯克从影近六十多年来，拍摄制作了超过六十部作品，他的作品跨越了从无声电影到有声电影，从黑白电影到彩色电影的各个时期，并且形成了独具特色的“希区柯克式”电影风格，被外界誉为“作者导演”的先驱。尽管他的时代已经距离我们十分遥远，但他的电影却永远都不过时，即使放在现在来看，观众也会为他影片中环环相扣、跌宕起伏的情节所折服，而希区柯克电影艺术的最大特点是，他将“悬念”有机巧妙地融入到电影的叙事情节之中，他本人也因之被称为“悬念大师希区柯克”。
This film director was born and gained his reputation in the United Kingdom, later embraced his golden age in the United States. He was recognized as one of the greatest directors in the history of world cinema with a consensus from different cultures and regions. Hitchcock engaged in the film industry for more than 60 years and produced more than 60 films. His works evolved over various periods and different styles: from silent films to sound films, from black and white films to color films, and gradually the director formed his own unique “Hitchcockian” style. Hitchcock was also recognized as a pioneer of the “cinema auteur” concept worldwide. Although the films he made are very far away from now, they are never out of date. Even now, audiences are still amazed by the plot twists and turns in his films. The biggest feature of Hitchock’s art presentation of film is that he skillfully integrates suspense into the film narrative. Thanks to that, he is also known as “the master of suspense”.
然而当谈起“悬念”时，它似乎总是和另外一个词“窥视”联系在一起，希区柯克悬念电影的整个基础就在于窥视。在希区柯克的电影世界中，“窥视”几乎成为一个屡次出现的重要主题。作为一位对于人类精神世界极为关注的导演，希区柯克从人性的角度对弗洛伊德精神分析学中的“窥视癖”这一概念做出了理性的诠释。在希区柯克的精心设计之下，他的电影选择了独特的视角，主要是站在“偷窥者”的角度进行拍摄，这一创新从而使得他的电影取得了巨大的成功，并获得了长久的艺术生命力，他本人也因此被誉为“电影界的弗洛伊德”。本文将从精神分析学中的窥视癖这一理论视角出发进一步分析说明一代悬念大师——希区柯克电影中所展现出来的导演风格。
The word “suspense” always seems to come together with another word “peeping”, which is a recurring theme of Hitchcock’s suspense films. As a director who is fond of psychology, Hitchcock formed his own interpretation of “voyeurism” from Freud’s theory of psychoanalysis on human nature. In his films, Hitchcock meticulously took a unique view of a “peeper” to express voyeurism. This innovation made his films a huge success and won long-lasting artistic vitality. Hitchcock himself, therefore, was also known as the “Freud of the film industry”. This article will analyze the directing style in Hitchcock’s films from the theoretical perspective of voyeurism in psychoanalysis.
一、希区柯克与精神分析学中的窥视理论
Hitchcock and the Theory of Voyeurism in Psychoanalysis
精神分析学中的偷窥理论是由弗洛伊德提出的。按照他的观点，人们对别人隐私的窥视欲来自于童年，来自于对自己身世和来历的好奇心，这种好奇心引发的窥视表现和欲望就是源自人的两种基本本能之一的性本能的一种。弗洛伊德曾在《性学三论》中写道，一方面，窥视欲的确可以使部分力比多指向更高的艺术目的；另一方面，它也可能扭曲成为变态行为。
The theory of voyeurism in psychoanalysis was created by Freud. According to Freud, the desire to peep into other’s privacy originates from childhood, from the curiosity about one’s own birth.The voyeurism triggered by this curiosity is one form of the sexual instincts, which is one of the two basic human instincts. Freud wrote in Three Treatises on Sexuality, “indeed, [voyeurism] offers them a possibility of directing some proportion of their libido on to higher artistic aims. On the other hand, this pleasure becomes a perversion.”
在弗朗索瓦·特吕弗所著的《希区柯克论电影》这本书中，特吕弗曾在书中提到过青少年时期的希区柯克似乎相当孤独，是个内向的孩子，并不热衷于跟其他学生玩在一起。11岁的他常常自己一个人往返于学校和家庭之间，在每次家庭聚会上，他总是独自坐在屋角，一言不发，只是看着大人们说话。那时的他观察到许多东西，一直到现在他也保持着这副老样子。这一切养成了他腼腆、孤独、爱思考的性格，他始终认为自己是个边缘人，实际上他是一位明察秋毫的观察家，他能从观察别人当中获得极大的乐趣。另外，在传记影片《希区柯克》中有一幕，《精神病患者》的女主演在自己的化妆室，突然看到一个叼着烟斗的胖男剪影从窗外飘过，女主演对身边的人说：“看到了吗，他总是爱偷窥。” 希区柯克在接受采访时曾大方表示：“我想这是人类的天性，是人都爱偷窥。” 弗洛伊德也认为，窥视欲是人的一种天性和本能。希区柯克在他的电影中引入了弗洛伊德的精神分析学说，向我们阐述了他对精神分析学中窥视理论的理解。从他众多的电影作品中我们也可以看出，喜欢恶作剧的希区柯克，非常认同弗洛伊德的观点，人人都有“偷窥”的癖好，并且希区柯克经常会把偷窥这种人类的本能和充满悬疑恐怖的谋杀联系在一起，通过躲在角落里的摄像机，让观众亲眼目睹真相的揭开。从这一点上来说，弗洛伊德精神分析学理论是希区柯克电影艺术突破的重要理论源泉，它启发了希区柯克要有主动意识地充分利用心理空间，使希区柯克的电影打破了经典叙事电影的藩篱。
In the book Hitchcock on Cinema by Francois Truffaut, Truffaut mentioned that Hitchcock seemed quite lonely in his teenage years. He was an introverted child, who was not keen to play with other students. The 11-year-old Hitchcock always commuted from home to school alone. He always sat by himself in the corner at every family gathering, watching the adults talking without saying a single word. Much was observed back then, and the habit remained when he grew older. All this made him a timid, lonely, and inquisitive person. Hitchcock regarded himself as a marginal person (who usually tends to stay out of other people’s business). In fact, he is a discerning observer, who takes great pleasure from observing people. In addition, there is a scene in the biographical film Hitchcock (Sacha Gervasi, 2012) that the heroine of Psycho (Alfred Hitchcock, 1960) suddenly discovers a silhouette of a fat man with a pipe flashing from the window in her dressing room. She says, “See that? He loves to peep.” Hitchcock shared his view in an interview, “I guess this is human instinct. People all love to peep.” Freud holds a similar view that the desire to peep is human nature and instinct. Hitchcock introduced Freud’s theory of psychoanalysis in his films to explain to us his understanding of the theory of voyeurism in psychoanalysis. As is shown in most of his films, Hitchcock is a pursuer of Freud’s Psychoanalysis theory and he also integrates his interpretations into the film. Hitchcock often associates “voyeurism”, an instinct that people are all addicted to, with murder cases that are full of suspense and horror. Audiences unveil the truth with the help of the camera hiding in the corner. From this point of view, Freud’s psychoanalytic theory is an important theoretical source of Hitchcock’s breakthrough in film art. It inspires Hitchcock to actively use films to explore the way to present suspense from a Psychological perspective, which also enables Hitchcock’s films to break the barriers of classic narrative films.
二、希区柯克电影中对于窥视理论的艺术化阐述
Artistic Interpretation of the Theory of Voyeurism in Hitchcock’s Films
窥视理论是希区柯克在电影中最常使用的精神分析学理论的主题之一，窥视情节几乎遍及他的每一部电影，他往往运用窥视的镜头角度来反映事件，从而使观众跟随着偷窥者的感受一起进入他们的世界。希区柯克认为，每个人，包括正常人都存在着窥视他人隐私的欲望，这也使得他在电影中塑造了很多“偷窥者”的形象。
The theory of voyeurism is one of most commonly used methods from psychoanalysis in Hitchcock’s films, and voyeurism appears in almost every Hitchcock film. He often shoots from the view of a peeper, which allows the audience to follow the peeper and enter their inner world. Hitchcock believes that everyone, including normal people, has the desire to peep into others’ privacy. The belief helps him to create a lot of “voyeurs” in his films.
在希区柯克早期的影片《房客》中，就已经涉及到令人振奋的偷窥行为。房东的女儿黛西正坐在浴缸里泡澡，浴室冒出来的蒸汽吸引了房客的注意，于是他蹑手蹑脚地下了楼，来到浴室的门口，导演通过一个特写镜头展现了房客想要偷偷拧开浴室的门把手偷窥黛西沐浴的欲望。这一幕给很多观众留下了深刻的印象，尽管房客在这次的偷窥中失败了，但作为观众的我们却看到了房客想看到的画面，而且希区柯克之后影片中的男主人公们也都成功地看到了类似画面。
Exciting voyeurism behavior was already involved in Hitchcock’s early film The Lodger (Alfred Hitchcock, 1927) — The landlord’s daughter, Daisy (June Tripp), is bathing in the bathtub. The steam from the bathroom attract the lodger, so he tiptoes downstairs to the bathroom door. The director gives a close-up when the lodger tries to secretly turn the doorknob to peep Daisy during the bath. This scene leaves a deep impression on most audiences. Even though the lodger fails to peep, audiences are still able to see what the lodger wants to see and in his later films, the male protagonists also manage to see similar views.
电影《精神病患者》的开场摄影机便开始尽职尽责地扮演一个窥视者的角色。这本是一个极其平淡的场景，导演先运用了摄影机一个大远景的固定机位，通过镜头的横摇拍摄交待了影片发生地的环境是一个平庸的、没有任何特色、没有任何生机的现代化工业城市，这个镜头仿佛是上帝又或者是一个普通人正站在一座高高的楼顶审视着这座城市。随后镜头景别逐渐缩小落在一间旅馆半掩的百叶窗上，镜头像贼一样从窗口慢慢地推进到室内，仿佛瘸腿的魔鬼揭开屋顶上的天花板，偷窥一个个家庭的秘密。摄影机在此刻便如同隐身的魔鬼，穿过窗子进入到一间简陋的旅馆房间，去窥见一个色情场景——玛瑞安和她的情人萨姆的约会。镜头对准床上，我们可以看到玛瑞安半裸的躺在床上，看着同样赤裸着上身的萨姆，希区柯克毫无保留地向观众展现了男女之间的情欲，使观众的偷窥欲和色情观看欲望得以满足，也使得观众在不知不觉中扮演了破窗而入的偷窥者的形象。同时，在这部影片的另一个场景中，玛瑞安在汽车旅馆的房间里更衣沐浴，而外表害羞内向的旅馆老板诺曼作为窥视者的形象出现在观众的眼前。当他作为一个普通的男人对玛瑞安产生欲望时，他的选择并不是表白或是示爱，而是躲在墙壁的后面，通过一个经过伪装的小孔，偷偷地窥视着她的一举一动。通过这个镜头，希区柯克不动声色地将赤裸裸的欲望表现了出来，这种欲望甚至也是观众所有的，同时也让观众对影片情节的后续发展产生了好奇心。从另一方面来说，在《精神病患者》的拍摄之中，希区柯克通过电影拍摄来满足对女性情欲的动机，被更加外露地揭示了出来，他以导演之名，用旁观这种光明正大的方式，近距离地完成“偷窥”，这也未尝不是希区柯克的一种的自我满足。
The opening sequence in the film Psycho, the camera has already served as a dedicated voyeur. This scene is a bland one: the film first uses a fixed position of the camera with an extreme long shot to set up the background of the film through the panning of the lens—a mediocre modern industrial city with no vitality. The angle appears as if God or an ordinary person is overlooking the city at the top of a high building. However, the camera slowly zooms in on half-closed blinds of a hotel room. It gradually moves in like a thief, spying on the secret lives of the family. Like an invisible ghost, the camera goes through the windows into a poorly-furnished room to peep an erotic scene—Marion (Janet Leigh)’s date with her lover Sam (John Gavin). The camera aims at the bed with a view that Marion is lying on the bed, half-naked, with Sam, who is also topless. The eroticism between man and woman is completely unveiled by the camera to the audience, fully satisfying the audience’s desire of voyeurism and eroticism. At the same time, it unconsciously makes the audience a voyeur who breaks into the window. Meanwhile, in another scene in Psycho, Marion is changing and bathing in a motel room, while the shy and introverted motel owner Norman (Anthony Perkins) appears as a voyeur. The way that Norman craves Marion is not to confess or show his love directly, but to hide behind a wall, surreptitiously peeing on Marion through a disguised peep hole. Through the camera, the eroticism, which is also shared by the audience, is unveiled to the greatest extent by Hitchcock, and in the meantime, it arouses the audience’s curiosity about the upcoming narrative development. On the other hand, the motive that Hitchcock satisfies the audience’s eroticism toward women though filming is more clearly exposed in the filming of Psycho: he, as a director, also satisfies his close “voyeurism” pleasure by observing people in an open and honest way. This also appears to provide self-satisfaction for Hitchcock himself.
三、希区柯克电影中对于偷窥文化内涵的演变
The Evolution of Cultural Connotation of Voyeurism in Hitchcock’s Films
在希区柯克的电影里，美丽的女性形象总是自己毫不知情的情况下在男性角色的窥视下宽衣解带、沐浴更衣，这些“偷窥”的细节，展示了人，尤其是男性的赤裸裸的窥视欲，尤其是对女性身体的窥视，在1958年的电影《眩晕》中，希区柯克也表现了男主人公斯考蒂对女主人公玛德琳的窥视。
In Hitchcock’s films, beautiful female figures always undress, get changed, and bathe under the watchful eyes of male characters who go unnoticed. These “voyeuristic” details show the voyeurism toward women among human beings, especially men. In the 1958 film Vertigo, Hitchcock also reveals the voyeurism from the male protagonist Scottie toward the heroine Madeleine.
影片《眩晕》讲述的了男主人公斯考蒂是一个患有恐高症的退休侦探，受朋友的委托作为私人侦探跟踪他的妻子玛德琳。而这样一个人物的设定就使得“偷窥”名正言顺了起来，斯考蒂对玛德琳的一切跟踪，甚至对玛德琳正面的观望都带有了浓厚的“偷窥”意味。斯考蒂对玛德琳的窥视是情节的中心，占据影片前半部分的绝大多数镜头都描述了斯考蒂开车尾随着玛德琳，驾车穿梭于旧金山的画廊、花店、公园和旅馆之间，希区柯克通过让玛德琳常常露出侧面脸部，并利用周围的各种环境，例如门框、阴影、偷窥时的门缝等等，将斯考蒂的“偷窥”行为更加明显的表现出来。在希区柯克的电影中，女性形象始终处于被观看的位置，作为一个被窥视的对象，而男性角色是则承担着观看者的角色。进一步来说，当电影中的女人受到男性观众的凝视时，女性角色反而会以受到这种父权式期待的方式（如展现温柔、性感）来展现自己，男性角色则是牢牢地处于象征界和权力之中，具有父系超我的属性。并且，女性角色都是有罪的，处于非法的一边，希望获得男性形象的救赎，这正体现了“凝视” 可以作为一种工具，构建并加强社会上以男性为主导话语体系。
The male protagonist Scottie (James Stewart) in the film Vertigo (Alfred Hitchcock, 1958) is a retired detective with acrophobia. He is entrusted by a friend to track his wife Madeleine (Kim Novak) as a private detective, which justifies “voyeurism” in the whole film. All the tracking and direct observation on Madeleine is rendered with “voyeurism”. The film focuses on the peeping of Madeleine by Scottie. In the first half of the film, most scenes capture how Scottie follows Madeleine through galleries, flower shops, parks, and hotels in San Francisco. Madeleine often shows one side of her face and Hitchcock utilizes different surroundings, such as door frames, shadows, and door cracks to highlight Scotties’ peeping. In Hitchcock’s films, the female figures are always in the position of being peeped while male figures are the peepers. Furthermore, when female figures are gazed at by male audiences, the female figures will present themselves in such patriarchal expectations (such as showing tenderness and sexiness) while male figures are always in the power with the attribute of paternal role. Moreover, female figures tend to be guilty or transgressive, hoping to get redemption from male characters. This exactly manifests that such “gaze” can be a tool to construct and strengthen the male-dominated discourse in society.
虽然希区柯克在电影中使用有窥视倾向的人或者用窥视者的视角来作为拍摄手法的这一大创举，为整个世界的电影创作带来了贡献，但是不乏也有很多攻击的声音冒出来，批判希区柯克的电影中出现的偷窥行为是一种不道德的行为。针对有人斥责电影里所展现的“窥视癖”的说法，于是希区柯克决定拍摄电影《后窗》为自己正名。
Even though Hitchcock’s pioneering use of the voyeuristic perspective as a shooting method in the film contributed to the creation of films in the whole world, there were also many critiques from different scholars. Criticism claimed that the voyeurism in Hitchcock’s films is immoral. Therefore, Hitchcock decided to justify himself with the film Rear Window (Alfred Hitchcock, 1954) in response to the criticism of his voyeurism.
电影《后窗》中男主人公杰弗瑞是一个习惯了冒险的摄影师，由于腿部受伤，他被迫只能整天坐在轮椅上。虽然他无法行动，但他有着职业性对窥视的好奇，当这份旺盛的精力，被双腿束缚在室内的时候，他必然要寻找一个释放的地方。而他的“后窗”正对面的这栋公寓，便成了他的最为理想的、绝妙的窥视目标对象。由此来看，希区柯克也在暗示观众，窥视他人的隐私并不是某些猥琐且有心理变态的人才会有的行为，许多正常人都会产生这样的一种观看的情绪。
Jeffrey (James Stewart), the male protagonist of the film Rear Window, is a photographer who is accustomed to taking risks. Due to his leg injury, he is forced to spend all day in a wheelchair. Although he is not able to move, he still maintains the curiosity to peep from his professional habits. When this exuberant energy is bound indoors by his legs, he must find an outlet and the building from his “rear window” becomes the ideal target for him. Based on this setting, Hitchcock is also implying to the audience that peeping at the privacy of others is not the behavior of some wretched and psychopathic people, but a common psychology among ordinary people.
男主人公杰弗瑞对偷窥乐此不疲，但他的身边的两个女人，一个是他的恋人，一个是定期照料他的私人护士，都从女性的身份，对他的偷窥申斥有加，并且遭到阻止：“偷窥别人的生活已经触犯到了法律。” 这实际上呈现出了男性与女性对偷窥行为迥然不同的态度。由于男性更加关注表层现象，并且对世界的好奇存有一种出自本性的趋近，从而偷窥更容易出现在男性身上。因此，《后窗》在一场看似司空见惯的偷窥波动中，其实影片里还蕴含着希区柯克对男女个性心理的深刻把握，这才有了影片里不同角色身份对偷窥的不同角度的界定，从中反映出的是男性和女性的不同视角所赋予偷窥的不同的关注点。
The male protagonist Jeffrey never gets bored of peeping. However, the two women in his life, one his girlfriend and the other the private nurse who takes care of him regularly, both rebuke him for doing so. This, in fact, reveals the distinctive attitudes to voyeurism of men and women. It is because men pay more attention to superficial manifestation and have the instinctive tendency to explore the world that causes voyeurism to be more common for them. For that reason, the commonly seen voyeuristic behavior in Rear Window embeds Hitchcock’s deep understanding of the difference of male and female psychological position. The different acceptance of voyeurism on different figures reflects the distinctive focus on voyeurism from the male and female perspective.
在影片最后，希区柯克将男主人公的偷窥上升到了道德的高度：正是由于偷窥这一举动才让男主人公有机会察觉到异常，似乎有一场谋杀案即将上演，也让男主人公最后成为了一个揭露邻居杀妻事件，并且机智地破获了杀人案的大功臣。电影将一个看似不道德的偷窥者摇身变为一个英雄的形象，从而为自己偷窥的行为正名。
At the end of the film, Hitchcock escalates Jefferey’s voyeurism to a moral level. It is exactly because of this act of voyeurism that Jeffrey observes the abnormality in his neighbours’ behaviour and senses the murder. This also helps to establish Jeffrey as a hero who not only uncovers the murder but also successfully discovers the murderer. It transforms an immoral voyeur into a hero, thus justifying his voyeuristic behavior.
总而言之，希区柯克电影里的表现出偷窥欲的大多数是男性，而女性则处于被动的地位。男性在“看”的过程中，将其幻想、欲望投射到女性的身体上，通过凝视获得快感。实际上这并不单单只是目光的投射，也能够对可见的事物进行监视。在动作的背后，隐藏着权力与欲望，从而这里的“看”便被赋予了权力的意义，是一种权威的观看。但不可否认的是，希区柯克将个人成长经历以及对于精神分析学的理解融入到自己的创作中，选择了“偷窥者”这一独特的视角，使得他对人性的刻画更加深度，造就了他独具一格的导演风格，也使得他的电影取得了巨大的成功，并获得了长久的艺术生命力。至此，“希区柯克式电影”进入了新的天地。
In conclusion, most people who show voyeuristic desires in Hitchcock’s films are men, while women are in the passive position. During their voyeurism, men project their fantasies and desires onto women’s bodies and gain pleasure by gazing at them. Peeping is not simply the projection of eyes, but also the surveillance on all visible things. Behind voyeurism hides power and desire, which endows more meaning of power to “watching” and makes it an authoritative observation. It cannot be denied that the integration of Hitchcock’s personal growth experience and his understanding of psychoanalysis into his creation and the unique “voyeur” perspective make his depiction of human nature profound and build his unparalleled directing style. This makes his films greatly successful with long-lasting artistic vitality. So far, the new chapter of “Hitchcockian films” has just begun.
Written for The Film Dispatch by Yuyu Song and translated by Rex Lu.
