漂泊的神像與流動的家—陳芯宜電影《流浪神狗人》

Abstract

本論文將探討台灣導演陳芯宜《流浪神狗人》（2008）中四處漂泊的人們與神像如何以兼具寫實與虛幻的呈現方式，透過流浪與出走，使家的概念漸漸模糊，同時也讓「非地方」空間變得顯而易見。藉由導演的電影政治與美學，人物們的居所或家似乎與傳統印象中有所不同。本論文首先以裴開瑞(Chris Berry)所提出的「著魔的寫實主義」(Haunted Realism)來分析電影中來自不同宗教及不同年代的神像，藉此反映出台灣獨特的「世俗現代性」（secular modernity）。第二、三部分探討在全球資本主義下，人們的居住空間如何變成馬克．歐傑 (Marc Augé )的非地方(non-place)概念，並與其他台灣新電影比較其中「家非家」的呈現。第四部分分析影片中導演呈現的價值觀與商品化。最後一部分研究人們在消費社會下如何心靈漂泊，即便有家，仍然流浪。

This thesis examines how the motif of drifting interweaves realism and fantasy in Singing Chen’s God Man Dog (2008). In both physical and spiritual senses, the drifting gods, wandering people and floating homes obscure the concept of “home” and then generate a field of “non-places”. I argue that through Singing Chen’s cinematic politics and aesthetics, the concept of characters’ shelter or home is somehow distinct from what it is imagined in a traditional sense. This thesis consists of five sections. The first section focuses on how the diverse religious statues and idols exemplify the secular modernity of Taiwan and how the film makes palpable Chris Berry’s concept of Haunted Realism. The second and third sections examine how living space in a capitalist society becomes what Marc Augé terms “non-place” and home becomes unhomely. In section four and five, I analyze the commodification and values in Chen’s film as well as the relation between drifting and “home”.