ABSTRACT

The reception of François Truffaut’s 1975 film L’Histoire d’Adèle H., dealing with the obsession and descent into madness of the daughter of Victor Hugo, has recurrently focused on its critical engagement with Romantic melodrama, as well as its literary and ‘romanesque’ dimensions. This article argues that the term ‘romanesque’ has camouflaged the film’s active engagement with both cinematic and literary Gothic heritage. This engagement is shown to be inextricably linked to dynamic tensions of paternal influence. Both Truffaut as director and Adèle Hugo as film character actively renegotiate the Father’s artistic heritage of violent passions and dark metaphysical forces, with differing results. The article proposes a double analysis: (a) a close reading of the film’s Gothic tropes, shedding light on Truffaut’s intertextual dialogue with Hitchcock, his favourite ‘Gothic’ father and (b) an examination of the character Adèle H.’s intertextual performance, in which she contends with the powerful Gothico-Romantic myth embodied by the literary patriarch Victor Hugo. This will lead to extended insight into Truffaut’s brand of filmic Gothic as a vehicle of haunted intensity and on his distinctive exploration of the torments of female subjectivity, haunting and neurosis.

摘要

弗朗索瓦·特吕弗 1975 年电影L'Histoire d'Adèle H的招待会.，处理维克多·雨果的女儿的痴迷和陷入疯狂，反复关注其对浪漫情节剧的批判性参与，以及其文学和“罗马式”维度。本文认为，“罗马式”一词掩盖了这部电影对电影和文学哥特式遗产的积极参与。这种参与被证明与父亲影响的动态紧张关系密不可分。作为导演的特吕弗和作为电影角色的阿黛尔·雨果都积极地重新谈判了父亲的暴力激情和黑暗形而上学力量的艺术遗产，并取得了不同的结果。这篇文章提出了双重分析：（a）仔细阅读电影的哥特式比喻，揭示特吕弗与希区柯克的互文对话，他最喜欢的“哥特式”父亲和（b）对角色 Adèle H. 的互文表演的考察，其中她与文学元老维克多·雨果所体现的强大的哥特浪漫主义神话抗衡。这将导致对特吕弗将电影哥特式作为一种闹鬼强度的载体的品牌以及他对女性主体性、困扰和神经症折磨的独特探索的深入了解。