展演中國性：邱剛健與臺港冷戰電影體制的轉化

Abstract

本文闡述邱剛健如何以「中國性」的展演介入參與「電影冷戰」、區域政治與冷戰意識型態之間的動態關係。近年臺港兩地掀起一股「邱剛健熱」，陸續出土的史料讓論者得以挖掘邱剛健的跨界創作，探索其編劇家以外的各種身分。論者對其跨媒介創作與美學思考已有初步的探討，至於邱剛健與中國性、冷戰政治之間的關係則尚待闡釋。游走臺港之間的邱剛健，實為探討兩地電影互動與冷戰政治的關鍵案例。本文將首先勾劃「冷戰－內戰電影體制」的概念作為討論框架，指出國民黨黨國權力與香港電影生產者之間的勾結形成，進而分析邱剛健電影的中國性展演如何與多重權力協商，並扣連到電影體制的幾個轉折時刻。

This paper use the concept of performing Chineseness" to read closely Chiu Kang-Chien's screenwriting of Taiwan and Hong Kong cinemas, and illustrates his active participation within the dynamics of the "cinematic Cold War," regional politics and Cold War ideological formations. In recent years, more and more autobiographical materials had been exposed that provided rich resources for imagining and portraying Chiu as a talented artist who carries multiple hats as a poet, a playwrite, and a film script writer. However, compared to this fruitful discussion of Chiu's aesthetic creativity, the close relations between his works, Chineseness, and Cold War politics are still unexplored. In fact, as a significant figure in Taiwan and Hong Kong film industries, Chiu is a good case to study especially for mapping the trans-local interaction mediated by Cold War politics. This paper first outline the concept of "Cold WarCivil War institution of cinema" that points to the strategic and contingent collaboration between the KMT party-state and the Hong Kong film tycoons. Then it llustrate how Chiu negotiated with various forces through performing Chineseness in his films throughout the Cold War era, to identify how these films involved in the transformational moments of this institution of cinema."