本計畫擬針對國內50與60年代重要文藝片導演潘壘的電影美學進行研究，以潘壘嶄露頭角的導演作品，由中央電影公司（中影）逾1962年所出品的《颱風》，作為主要研究對象。潘壘為台灣50年代重要文學作家，50年代末開始電影導演生涯，1962年完成第三部導演作品《颱風》被譽為台灣第一部藝術電影的文藝片，隨即被邵氏影業網羅，在台灣以邵氏外景隊的名義，拍攝多部文藝片，如《情人石》、《蘭嶼之歌》與動作片，如《山賊》，但也因此過去被認為是香港導演，而鮮少在台灣電影史中被重視。而《颱風》也因影片上映後，中央電影公司並未公開發行家用版本，僅有保存於國家電影中心的膠卷放映拷貝音畫皆有毀損，以致於國內對於《颱風》這部重要影片至今無人加以研究。所幸《颱風》於2018年由國家電影中心數位修復，得以回復。本計畫針將針對這部與中影出品影片格格不入的女性情慾主題呈現，以及在情節推動與視覺效果皆有重要功能的空間處理，從台灣電影歷史脈絡與導演電影美學風格兩個角度進行分析。同時，由於本片製作的年代為台灣白色恐怖偵防匪諜高峰時期，本計畫也將針對片中似乎對白色恐怖亦有所指的片段加以研究，以判斷本片是否可視為一部60年代台灣的政治寓言。 ;This project intends to study director Pan Lai's film aesthetics as demonstrated in his most important directorial film TYPHOON, which was released in 1962 under Central Motion Picture Corporation (CMPC). Pan Lai was already a renowned writer in the 1950s and started writing film scripts after he was employed by CMPC. He later left CMPC and began to make his own films. The astounding achievement of TYPHOON, the third film he directed, attracted the attention of Run Run Shao, who immediately hired him and let him make films for Shao Brothers in Taiwan. Pan was therefore more known as a Hong Kong director and rarely mentioned in this scholarships of Taiwan cinema. Due to its unavailability as home video and the poor quality of the screening print, TYPHOON remained totally forgotten until the Taiwan Film Institute digitally restored it in 2018. This project will take a close critical look at this impressive film, which is praised to be a first art film made in Taiwan. The focus will be on the representation of female desire, which was not dealt with in other contemporary films of the 1950s and 1960s. The remarkable arrangement of the space both visually and symbolically will be the other focus of this project. The historical period in which the film was made saw the height of the White Terror, the nationalist government's political purge of individuals and organizations related to communism and communist China. The film seems to have included scenes and sequences suggesting the political background of White Terror. The project will also try to analyze the film's political implications and provide a reading of the film as a political allegory.
