馬華離散與酷兒政治： 論蔡明亮電影的華語流行音樂

Abstract

本論文主要運用文本分析的方式，透過《洞》、《天邊一朵雲》和《黑眼圈》這三部蔡明亮的電影作品，探討導演對於華語流行歌曲的使用，尤其是上世紀五十到六十年代的上海香港國語流行樂，並歷史化地閱讀電影的音樂和影像與九十年代後的台灣社會、文化和政治之關聯。本論文的核心論點是，導演在繼承台灣「新電影」的美學系譜的同時，也生長出了具高度主體性的創作能量，「馬華離散」及「酷兒政治」是理解其電影的兩組關鍵詞。作為「旅台馬華」文藝工作者，蔡明亮在台馬兩地的國族和公民的歷史認同問題上，始終保持著批判的距離，在「馬華經驗」和「台灣經驗」之間進行雙鄉和雙重書寫。另方面，電影的歌舞片段充滿性與性別的怪胎樣貌，以跨性別、變裝癖、鋼管女郎、半人半獸的跨物種賽姿態現身，在民主化和現代化浪潮下挑逗台灣社會的敏感神經。透過蔡明亮電影，我們看見馬華和酷兒成為導演取之不竭的創作動能，以及跨越既存的國家、公民和性別的界限而相互接合的研究可能。 導論對蔡明亮的旅台生命史、「台灣新電影」的生成歷史、拒絕全球化的底層酷兒、跨國族馬華文學公民、冷戰年代的華語流行音樂文化迴路等進行文獻回顧。第二章討論《洞》的五首葛蘭歌舞片段，分析五十年代葛蘭的冷戰現代性形象，如何在世紀末台北中被重新脈絡化或「土俗化」，進而使這部對葛蘭致敬的電影意外形成反認同甚至「反葛蘭」的後人類酷兒辯證。第三章以《天邊一朵雲》的五段歌舞場景為切入點，分析蔡明亮建構自身與後解嚴台灣社會的關係、記憶蔣介石的威權遺產的方式。第四章探討《黑眼圈》，思考吉隆坡的印華移民工如何藉著音樂開創出一個以無國籍、無生理血緣、無居住權的酷兒無產者共同體。 第五章重申「旅台馬華」與「酷兒政治」的交織性，以及思考何謂離散者的「國/家」。

This thesis attempts to propose a historically contextualized reading of three films of Taiwan-based Malaysian director Tsai Ming-liang— The Hole (1998), The Wayward Cloud (2005) and I Don’t Want to Sleep Alone (2007)— through particularly focusing on his adaptions of the 1950-60s Shanghai/Hong Kong mandarin popular songs. Situating Tsai’s films within Taiwan’s specific cultural-political-historical context during the (post)martial law era, my study argues that Chinese Malaysian(Mahua) diaspora and queer politics are the two intersecting forces in regard to Tsai’s critical reflections over nationalisms, citizenship, sexualities, and urban development. This project is divided into five chapters. In Introduction, I trace Tsai’s life history moving back and forth between Malaysia and Taiwan, then pinpoint the emerging moment of ‘Taiwan New Wave Cinema’ that Tsai came across in the 1980s, rethink Tsai’s queer confrontation with the globalizing homonormativity, and ask what it means to be a ‘Mahua/queer’ director in Taiwan. Chapter 2 discusses The Hole with emphasis on its five musical numbers sung by the 1950s Hong Kong star Grace Chang but lip-synched by Yang Kuei-mei in contemporary Taipei. I argue that Grace Chang, along with her legacy of ‘the Cold War modernity’, is reaccessed and reconfigured in a camply parodic but rather self-reflective style. Chapter 3 analyzes The Wayward Cloud to demonstrate how Tsai looks at post-martial law Taiwan society from his ‘Mahua’ standpoint as his musical numbers not only challenge the party-state cultural memories but also are at odds with mainstream nationalist/modernizing discourses in Taiwan. The fourth deals with Tsai’s first Kuala Lumpur-based film I Don’t Want to Sleep Alone by focusing on Petaling Street’s illegal migrant/domestic workers and Tamil and Chinese songs that, I argue, represents a non-familial, non-reproductive, and consmopolitan queer subaltern community. The concluding chapter foregrounds Tsai’s works have made the articulation of Mahua and queer subjects possible as it exceeds the existing nation-states and move towards a more complex trajectory of Taiwan-Malaysia inter-subjectivities.