《十年》與香港後雨傘情感政治

Abstract

《十年》是關於香港未來的電影拍攝計劃。由於碰觸了尖銳的政治議題，電影公映初期受傳統商業發行機制以各種理由排斥、抵制，只在少數院線上映，僅有的播放影院甚至在高票房情形下突然落畫。電影團隊後轉而與民間團體合作，舉行社區放映活動，以非主流的方式流通，卻取得了主流電影評獎體制的肯認－香港電影金像獎最佳電影。當電影被《環球時報》批評「《十年》導演們宣揚絕望」、「在這座城市裡擴散焦慮」，不少「進步」評論人同樣認為影片流於情緒抒發而無助建立香港主體性，對立的政治立場弔詭地同以情緒之名進行批評，正好指向了可能的介入路徑－情感的政治。《十年》作為電影文本固然是情感的中介，當文本在不同場域、社會機制流通時所產生的各種論述，同樣是情感流通的過程、環節之一，當中的抵抗與斡旋不僅指向《十年》本身，同時打開了討論當下香港文化政治的空間。本文將重構《十年》的流通脈絡，借助阿赫美（Sara Ahmed）、威廉斯（Raymond Williams）、布朗（Wendy Brown）等理論資源，探討文本及其流通的情感邏輯，嘗試尋求後雨傘香港文化政治的另類理解。

Ten Years is a cinema project that projected imaginaries towards Hong Kong's near future. As the film engaged with sensitive political issues, it was boycotted by most of the commercial distributors in Hong Kong. However, the marginal circulation circuits marked its distinctiveness as a unique event of Hong Kong cinema. Under the intensifying political tensions, the cinemas suddenly suspended the screening of Ten Years even it had reached a surprising box office record. The team then switched to an alternative way to circulate the film by organizing community screenings with NGOs. While the film is marginalized from the mainstream distribution channels, it received ＂the best movie＂ prize from the 35th Hong Kong Film Awards which is a quasi-official institution of recognition of the Hong Kong cinema. However, once Ten Years' nomination was announced, Huanqiu Times, an official media of PRC, accused the directors of ＂disseminating despairs＂ and ＂spreading anxiety around the city.＂ Surprisingly some ＂progressive＂ critics also resonated with such negative view over the ＂emotional＂ aspect of the texts. This paradox points toward a new path for critical intervention: the politics of emotions. On one hand, Ten Years serves as a medium of emotions that circulated around the society; on the other hand, discourses had been generated through the text's circulation across various fields and social institutions. Such a process also played a significant role in the production of emotions. Resistance and negotiation in this process opened up spaces for investigation of the current conjuncture of Hong Kong. As a new approach to articulate the cultural politics of ＂post-Umbrella Movement,＂ inspired from Sara Ahmed, Raymond Williams and Wendy Brown's theoretical thinking on emotions, this paper first reconstructed the context of the circulation and then deploy textual analysis of the emotions of Ten Years.