詭異他者：《切膚慾謀》中的性別化賽博格

Abstract

素有「女性導演」之稱的佩德魯‧阿莫多瓦於2011年的作品《切膚慾謀》中試圖透過變性、植皮、整形手術創造出「大寫女性」(the Woman)。本論文先就本片瀰漫的詭異氛圍為始，論述詭異(uncanniness)是如何透過賽博格(cyborg)這個跨越疆界的符碼具體化，再以「皮膚」這個貫穿全片的意象就自我形塑及戀物傾向兩分面討論。最後，以朱迪斯．巴特勒的性別表演理論以及泰瑞莎．羅勒蒂的性別理論，探討「女性」(femininity)是如何透過「性別化賽博格」(gendered cyborg)呈現，以及本片作為女性電影的寓意。本片雖是一部驚悚作品，卻也經由身份錯置、權力翻轉、自我協商的情節刻劃中，挑戰了性別、身心二元論的既有架構，並關懷邊緣化社群，以及對科技與人性間的關係作出反省。

Best known for his representation of femininity in cinema, Pedro Almodóvar’s portrayal of women has won him the title of a “women’s director.” Yet, what makes his eighteenth feature, The Skin I Live In (2011), distinct from the previous ones is the uncanny atmosphere it provokes throughout the film as the director attempts at creating the Woman out of a gendered cyborg. This paper therefore explores the concept of femininity by looking at how it is represented through the construction of the gendered cyborg body in the light of Judith Butler and Teresa de Lauretis’ theories. With an uncanny figure portrayed as the Woman, the film can be seen as the director’s fiery expression toward the dichotomy of gender/sex, body/identity, and women’s position within the hegemonic discourse. On the other hand, given that the intervention of technology has played a vital role in the film, The Skin I Live In is also a tragedy that allows an introspection of the overly optimistic attitudes towards future technology and its limitations.