文化藝術人物 / Cultural figure

杜可風

Christopher Doyle

1952年至今

領域:藝術家

繁體中文

杜可風(Christopher Doyle),1952年5月2日生於澳洲悉尼,香港電影攝影師及導演。他十八歲離家,當過商船水手,並在以色列、泰國、印度等地做過各種散工,其後在美國馬里蘭大學修讀美術史,又在香港中文大學學習中文,並取中文名杜可風,意近「如風」。1980年代初他在台灣任職電視台的攝影及剪接,並應導演楊德昌之邀參與電影攝影,1981年首次為電影掌鏡。1986年,他憑《老娘夠騷》首奪第6屆香港電影金像獎最佳攝影;1990年與王家衛合作《阿飛正傳》,再奪第10屆最佳攝影,其後《東邪西毒》(1994)、《墮落天使》(1995)與《2046》(2004)先後為他帶來同一獎項,2015年再憑《踏血尋梅》獲第35屆最佳攝影,累計七度獲此獎,得獎紀錄橫跨近三十年。2003年,他以張藝謀的《英雄》奪第22屆最佳攝影。2000年,他憑《花樣年華》獲第52屆康城影展技術大獎。1999年他自編自導自攝《三條人》。他亦為《春光乍洩》(1997)、《風月》(1996)及陳可辛的《中國合伙人》(2013)等片掌鏡,其中《水中仙》為他贏得第13屆上海國際電影節最佳攝影。除電影外,他出版攝影集,並參與裝置藝術與廣告拍攝,作品曾在多個國際展覽及電影節展出;他多次與不同語言的團隊合作,足跡遍及香港、台灣、內地與歐美,其影像風格難以複製,卻影響了不少後輩攝影師。他以手持鏡頭、濃烈色調與不規則構圖見稱,並曾把電影影像帶入美術館,創作錄像裝置。

English

Christopher Doyle (born 2 May 1952 in Sydney, Australia) is a Hong Kong-based cinematographer and director. He left home at eighteen and worked as a merchant seaman, taking a string of odd jobs in Israel, Thailand and India, later studying art history at the University of Maryland and Chinese at the Chinese University of Hong Kong, where he took the name Du Kefeng, meaning roughly 'like the wind'. In the early 1980s he worked as a cameraman and editor for a television station in Taiwan and, invited by director Edward Yang, moved into film photography, first shooting a feature in 1981. He won his first Hong Kong Film Award for Best Cinematography at the 6th awards with Soul (1986) and a second at the 10th with Wong Kar-wai's Days of Being Wild (1990); Ashes of Time (1994), Fallen Angels (1995) and 2046 (2004) brought him the same prize, and Port of Call (2015) gave him a seventh win, at the 35th awards — a run of wins across nearly three decades. In 2003 he took the 22nd award for Zhang Yimou's Hero, and in 2000 In the Mood for Love earned him the Technical Grand Prize at the 52nd Cannes Film Festival. He wrote, directed and shot Away with Words (1999), and also shot Happy Together (1997), Temptress Moon (1996) and Chen Kexin's American Dreams in China (2013); Ondine won him Best Cinematography at the 13th Shanghai International Film Festival. Beyond cinema he has published photography books and worked in installation art and commercials, with work shown at international exhibitions and festivals, collaborating across Hong Kong, Taiwan, the mainland and the West. He is known for handheld camerawork, saturated colour and unconventional framing.

人物小檔 Profile

職業Occupation

攝影師、導演

年期Active period

1952年至今

代表作Notable works

《老娘夠騷》《阿飛正傳》《東邪西毒》《墮落天使》《花樣年華》《英雄》《2046》《踏血尋梅》

獎項及榮譽Awards & honours

7屆香港電影金像獎最佳攝影;第52屆康城影展技術大獎(《花樣年華》)

資料整理日期 / Compiled: 2026-09-12

主要成就 Key Achievements

1986

憑《老娘夠騷》首奪第6屆香港電影金像獎最佳攝影

Won Best Cinematography at the 6th Hong Kong Film Awards for Soul

1991

憑《阿飛正傳》獲第10屆香港電影金像獎最佳攝影

Won Best Cinematography at the 10th Hong Kong Film Awards for Days of Being Wild

2000

憑《花樣年華》獲第52屆康城影展技術大獎

Won the Technical Grand Prize at the 52nd Cannes Film Festival for In the Mood for Love

2015

憑《踏血尋梅》獲第35屆香港電影金像獎最佳攝影,累計七度獲獎

Won Best Cinematography at the 35th Hong Kong Film Awards for Port of Call, his seventh such win

影響與傳承 Impact & Legacy

繁體中文

杜可風以手持鏡頭、濃烈色調與不規則構圖,改寫了香港電影的視覺語言;他與王家衛的合作把攝影由敘事工具變成情緒本身,這套影像其後被亞洲及國際影壇廣泛借用,也影響了《英雄》一類大型彩色製作的取景方式。

English

With handheld camerawork, saturated colour and unconventional framing, Doyle rewrote the visual language of Hong Kong cinema; his work with Wong Kar-wai turned cinematography from a narrative tool into the emotion itself, and the style was widely borrowed across Asian and international film-making.

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