《西域威龍》：成龍的華人男性形象

Abstract

本文的研究目的在於，探索好萊塢電影文本如何再現華人男性形象、以及好萊塢電影文本有關華人男性身體與陽剛特質的銀幕再現。本文認為，《西域威龍》這部電影的文本特殊性是，成龍將香港喜劇功夫片與美國西部片結合，並且自願與好萊塢電影工業的東方主義意識型態共謀，為東西方觀影者，建構一個混淆地理區域、種族藩籬與文化界限的可能。 本文以電影研究的文本分析為基礎，針對《西域威龍》進行文本解構與詮釋，涵蓋三個層面的討論，包括影像美學、性別政治與敘事法則。本文發現，透過大遠景鏡頭與空中遙攝鏡頭的俯視角度，再現美國西部宏偉壯闊的地理空間，而成龍則建構相當獨特的喜劇功夫片影像美學；成龍的華人男性形象是陰性化的他者、被虐狂的身體表演，以及情慾壓抑；藉由諧仿效果與嘲弄手法、以及語言遊戲的耍弄，成龍成為被美國白種人譏諷的對象。

The purposes of this research are, to explore how Hollywood film represents the image, male body and masculinity of Chinese man. It points out, the textual specificity of Shanghai Noon is, Jackie Chen combines the genre of comedy kung-fu from Hong Kong with the Western in the US. Jackie Chen is willing to cooperate with the ideology of orientalism in Hollywood. And this film constructs the possibilities of mixing up geographical area, racial difference and cultural boundary for the eastern and western spectators. Based on the textual analysis in film studies, this research deconstructs and interprets the filmic text of Shanghai Noon with three dimensions, including visual aesthetics, gender politics and narrative principles. It finds out, this film represents the magnificent space of American west. Jackie Chen constructs quite unique visual aesthetics of comedy kung-fu. The image of Jackie Chen as a Chinese man includes: feminized other, body performance of masochism, and the repression of sexuality. For American white, Jackie Chen becomes the ridiculous object through the effect of pastiche and parody, and through making fun of language game as well.