《無間道》：類國族寓言以及「消失」政治

Abstract

本文主要以國家之間的曖昧游移，歷史空間(anthropological places)與過渡空間(non-places)間的辯證關係為立足點來閱讀電影《無間道》三部曲，並從三種面向析論。首先，從香港黑幫電影的曲折重新回顧香港的殖民歷史；並且探討九七移交對於電影《無間道》三部曲的重要性；最後以類國族寓言的模式來探討《無間道》所反映的認同問題。 首先，本文探討香港及其文化生產，以及黑幫電影的中間性。透過時間的斷裂與重組，《無間道》舖陳出黑幫電影類型的傳統，呈現回歸母國懷抱時身分建構的曲折。藉由類國族主義的方式來呈現電影所反映的香港，英國，以及中國間的三角關係。 再者，本文從後現代拼貼的方式呈現懷舊氛圍；佛經中反覆闡述不可超脫的輪迴意象則讓主角墜向虛無。從江湖概念的紛沓開始，舖展「跨文類的意義」；透過非全知敘事的時間重組，彰顯九七大限的重要性，並且帶出懷舊的主題。貫穿全片的主題「無間地獄」，則泛指佛教概念中「無間斷的受苦受難」，把存在焦慮，精神扭曲，以及躊躇徘徊的心態扣連起來。 最後，就「消失」政治而論，本文視香港為一「消失」空間，並且與主角的「消失」息息相關﹔而《無間道》三部曲中歷史空間與過渡空間的並置，更強調香港在九七之後的「曖昧游移」。歷史空間與過渡空間在電影中並非處於相對的位置，而既共存又相互映照。本文析論「消失」（隱藏，缺席，不存在）空間，透過警察與臥底間的「消失」來闡述互助共生以及偽裝的概念，更強化輪迴與墮落的主題。

In this thesis, I try to focus on the slippage and in-between-ness of the nationhood, and the dialectics between anthropological places and non-places in the Infernal Affairs trilogy, and conduct my investigation in three directions. First of all, I revisit Hong Kong’s colonial past by mapping the refractions of gangster genre; investigate how post-97 atmosphere reinforces the Infernal Affairs trilogy; finally, how quasi-national allegory is generated. First, I demonstrate the in-between-ness of Hong Kong itself, its cultural productions, and gangster films. Through the interruption and rearrangement of time, the Infernal Affairs trilogy unfolds the heritage of gangster genre and provides the refractions in identity construction to embrace the Motherland China. A quasi-national allegorical approach in the Infernal Affairs trilogy unfolds the triangular relationship of Hong Kong, Britain and China from a neutral perspective. Second, I investigate the postmodern pastiche in the continuously nostalgia aura and the nihility toward the Buddhism with repeating image of reincarnation. I start from the variation on the concept of jianghu to unwrap the “cross-generic signification”, and then analyze the rearrangement of timeline that violates the total omniscient narrative in demonstrating the importance of the deadline 97, bringing up the theme of nostalgia. Moreover, the penetrating theme of “infernal” refers to the Buddhist concept of “continuous hell” which intricately interlocks all the anxiety of existence, psychological distortion and tottering instability. Third, in terms of politics of disappearance, I focus on the space of disappearance in Hong Kong in connection with the disappearance of protagonists, and the juxtaposition between anthropological places and non-places in the Infernal Affairs trilogy, accentuating “quasi-ness” in post-97 Hong Kong. Anthropological places and non-places in the Infernal Affairs trilogy are not that polarized as they appear to be as they coexist and contrast with each other. I demonstrate the space of disappearance (non-appearance, absence, lack of presence) with the mutual-illumination and camouflage between the cop and the undercover through each other’s disappearance, which reinforces the themes of reincarnation and degeneration.