失落/殘存: 張作驥電影的憂鬱政治及其邊緣主體

Abstract

本論文分析臺灣導演張作驥三部電影 – 《黑暗之光》(1999)、《美麗時光》(2002)及《蝴蝶》(2007) 如何透過影像符號的配置及美學重構邊緣主體的記憶、身分跟想像。援引西蒙‧佛洛伊德 (Sigmund Freud) 以及大衛 (David L. Eng)和卡贊堅 (David Kazanjian) 關於憂(Melancholy)、哀悼 (Mourning) 和失落 (Loss)/ 殘存 (Remains) 的觀點，探討影片中邊緣主體的力比多不願投資、認同失落/殘存及自戀想像不僅是病理式地哀悼過去歷史跟自我，也呈現了邊緣主體的憂鬱能動性能抵抗著父權、主流文化和資本主義並且展現臺灣多元族群、文化跟語言，除了有著殖民歷史的色彩也再現了那些在不同政權轉移下被遺忘的主體。

This thesis investigates how Taiwanese film director Chang Tso-chi aesthetically deploys different symbols and images to represent and reconstruct the marginalized subjects in the three films – Darkness and Light (1999), The Best of Times (2002) and Soul of a Demon (2007). Through Sigmund Freud’s concept of melancholy and mourning and David L. Eng and David Kazanjian’s concept of loss, I argue that “the reluctance to reinvest libido to new objects,” “identification with loss,” and “narcissistic imagination” of the marginalized subjects are a pathological mourning for the past and the self as well as a melancholic resistance against patriarchy, mainstream culture and capitalism, which politically shows an urge to preserve and protect their subjectivities and an uncertainty of national identity.