普拉娣巴‧帕碼的反身策略：《真實之美：探索愛麗絲沃克》評論

Abstract

普拉娣巴‧帕碼（Pratibha Parmar）的紀錄片中屢見非裔美國女作家愛麗絲‧沃克（Alice Walker）的身影，其箇中原因除了兩人共有的族裔背景之外，最主要的原因是她們在書寫和影像敘事中都呈現出反身性（self-reflexivity）的策略。沃克的《紫色姐妹花》（The Color Purple）從1982年問世，到1985年由史蒂芬‧史匹柏（Steven Spielberg）所改編的電影搬上大銀幕映演，其中所呈現的亂倫、強暴、同性戀等暴力議題引發了相當大的社會爭議，尤其是來自黑人內部社群的不滿。沃克選擇忠實呈現這些暴力行為，卻反而遭受黑人同胞的攻訐，原因在於黑人認為她的書寫和後來史匹柏的改編電影中的暴力再現並不符合事實，且有損黑人的名譽。沃克之所以描寫這些黑人自相殘害的過程，將其公諸於世，恰與帕碼針對黑人女性主義與運動所提出的批判性自我審視（critical self-evaluation）不謀而合。本文同時評論帕碼的紀錄片作品與梳理其學術論述，指出非裔美國人的自我認同絕非僅是抵抗外部壓迫的單向運動，更是揭露並面對內在矛盾的自我批判。否則一來，種族主義可能使黑人片面地將自身問題歸咎於白人，膚色淪為逃避現實的擋箭牌；二來，那些無法被統合為共同體的族群也將持續被邊緣化。

Pratibha Parmar gravitates to filming Alice Walker not merely because they share a common background of diaspora. In fact, they are both interested in a strategy of self-reflexivity. The controversies about Walker's representations of the violence of black people in The Color Purple, including its film adaptation by Steven Spielberg, have never been seized among black communities since 1982. As a writer, Walker reveals an unbearable truth to the quintessential African Americans. Large amounts of black audiences claimed that Walker's representations of black people's atrocities by black communities were not true and believed that they have given the blacks an ignominy. It is difficult to understand why the black people so fervent and avid in equal rights should have been so selfcontradictory in the crucial matter of gender. Making Alice Walker: Beauty in Truth, Parmar renders it self-reflexive. Likewise, Walker deploys the representations of black violence in The Color Purple at her discretion. According to Parmar, to examine black feminism requires the rudiments of critical self-evaluation. Without critical self-evaluation, on the one hand, racism becomes a cursory glance for the black people. The black people merely target at white people as well as aspects of complexion when they choose to acquiesce and hide the atrocities by black communities; On the other hand, those who could not or would not be able to be categorized into any kind of identity continues to be marginalized.