「褲兒」生存模式：《誰在找麻煩》和《日常對話》中的酷兒時間與修復轉向

Abstract

本文分析臺韓紀錄片－南韓的《誰在找麻煩》（《불온한당신》）（2015）和臺灣的《日常對話》（2016）－中，主角李蛻和T媽媽月女的生命經驗，據此提出「非典型記憶」的歷史形態，並探問「酷兒生存模式」與「歷史修復」的可能。李蛻和T媽媽前後出生、成長於1945至1970年代的南韓和臺灣，彼時兩地正經歷劇烈的政治、經濟轉型：從日本殖民、冷戰反共，到朴正熙與蔣中正的威權時期；同時是從農業社會轉型至工業化社會的高峰期。兩位紀錄片主角身處在這樣特定的歷史時空中，在性／別（同性戀者、不婚女性、家暴單親）與勞動（女工、司機、祭司）身分上呈現有別於當時主流社會高度集體正常化的「邊緣性」（precariousness），並透過紀錄片的口述回憶，將此生命經驗傳遞到拍攝者與觀眾眼前。本文認為，兩位紀錄片主角的生命經驗凸顯了「酷兒時間」的複雜歷史向度，並反映了兩個重要的歷史問題：其一，主導性歷史參照總是著重於「意識形態」與「象徵」的操作，而李蛻和T媽媽的生命經驗則反映了，著重這兩個分析面向，會忽視歷史參照系統中的「物質基礎」。再者，他們的邊緣生存狀態不只與性／別身分有關，而是跟生命形態緊密扣連，也因此必須連結階級、勞動、信仰等面向，據此揭露各種權力系統的結盟。最後本文提出酷兒歷史的「修復轉向」，以兩部紀錄片呈現的「修復性閱讀」重塑酷兒主體經驗中的日常性與情感結盟，嘗試在社會建構的意識形態和表演性之外，補充較少被觸及的生活體現，以此修復酷兒歷史，進而重構批判方式。

Focusing on the main figures of Yi Muk and T Mama in recent queer documentaries: Troublers (2015) and Small Talk (2016) produced by South Korean and Taiwanese independent directors, this paper speaks to recent work in queer theory and historiography on the potential for ＂queer modes of life＂. Yi Muk and T Mama were born and lived in South Korea and Taiwan during the 1945-1970s, when the two societies were undergoing drastic political and economic transformations: from Japanese colonialism, the Cold War system, to the authoritarian regimes, as well as the peak period of the economic development and industrialization. Against this backdrop, the two protagonists demonstrate a critical lived experience of precariousness in terms of gender/sexuality and labor work. I argue the ＂precarious memory＂ embodied in the documentaries present a useful analytical framework for examining the dominant mode of history writing. To facilitate this argument, I will trace the shifting paradigms of sexual norms from the legacy of colonialism, the cold war ideology, to the precarious present when the knowledge production of sexuality is passed on to subsequent generations. To be more specific, I will discuss the issues of gender norms through the reading of the liminal subjects of pajissi and chhēng-khò-ê (both means Mrs. Pants in Korean and Taiwanese language), the precarious lives of these non-normative subjects under cold war system, and how the directors (as subsequent generations of Yi Muk and T Mama) integrate this socio-history into the present and future, to approach a reparative reading of queer history.