棄卻物紀事:香港導演陳果電影中的排泄情結

Abstract

本文藉由拉岡及克莉斯蒂娃對主體形成的串連與闡釋來觀看香港導演陳果的三部電影作品《去年煙花特別多》、《香港有個荷里活》、《人民公廁》。不同於一般評論者著重討論陳果電影中，尤其是香港回歸三部曲《香港製造》、《去年煙花特別多》、《細路祥》的國家身分認同問題，本文的研究對象是陳果經常於其各作品中不經意呈現的排泄物，亦即克莉斯蒂娃所指的「棄卻物」。從精神分析的脈絡出發，陳果影像中的排泄物能重新詮釋他一直想探討的個人成長敘事，而非侷限在1997年歷史框架下的國族身分認同。過去對陳果作品的討論著重香港身分認同的焦慮，卻未深入探究在香港九七大限之後，陳果的後續作品如何在身份議題上尋求一致性。本文企圖依據上述三部電影，從陳果對排泄物的巧妙比喻與敘事來重新打造屬於陳果獨特風味的排泄寓言。一方面，電影人物對排泄物的排斥到接納為香港島上居民的雜沓身份做了解套，從此，對於固著完整的身分認同不再執著。另一方面，排泄物與人物的互動，使陳果為香港故事增添了多樣化、流動的色彩，從《人民公廁》的疆界出走，我們看見陳果意欲耕耘出新香港面貌的企圖。身份的侷限與過度的認同悲哀，並非陳果想藉排泄物所傳達的。反覆以排泄物貼近觀眾，陳果於過程中對自身的香港經驗與個人的成長作了回應。

This thesis studies Hong Kong director Fruit Chan’s application of fecal matters with Jacques Lacan’s notion of split subject and Julia Kristeva’s concept of the abject and abjection. Instead of focusing on Fruit Chan’s “Hong Kong 1997 Trilogy,” this thesis aims at The Longest Summer, Hollywood, Hong Kong, and Public Toilet to form an alternative allegory about the formation of subject. Formed by Chan’s own concerns, the new trilogy helps to re-contextualize Chan’s emphasis on micro and individual growth rather than the national identification in his storytelling. The previous commentaries on Chan’s films mostly emphasize on the instable national identification during the transfer of sovereignty in 1997. This research on the other hand tries to analyze Chan’s films without the context inscribed by a macro national history. By means of the interaction among the subject, the abject and the object of desire in a psychoanalytic manner, my concern lies in Chan’s breaking through the predicament of fixed and false identities and further his attempt to awaken the protagonists as a complex subject. Public Toilet as the last episode of this new fecal allegory therefore inaugurates a more mobile and hybrid image of Fruit Chan’s subject, which can echo his own growing experience.