論蔡明亮電影中的女性主義敢曝 — 以《洞》和《天邊一朵雲》為例

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摘要

本論文著重於從女性主義的角度分析馬來西亞籍導演蔡明亮兩部作品《洞》（The Hole）和《天邊一朵雲》（The Wayward Cloud）中的女性主義敢曝。筆者意欲將蔡明亮的作品與相關的電影理論、敢曝理論、視覺理論、精神分析理論，透過分析電影中的場面調度、演員動作與表演、聲音以及攝影機的運動與敘事脈絡的呈現，探討蔡明亮如何在《洞》中以敢曝的歌舞劇表現女性的慾望和強而有力的主體，此強而有力的敢曝女性形象如何顛覆父權社會中的女性形象，後來在《天邊一朵雲》蔡明亮更進一步運用敢曝批判性、性別和色情。在這兩部電影當中，蔡明亮雙管齊下運用縫合效果與疏離效果，一方面將女主角的主動觀視與觀者的觀看縫合，一方面又運用疏離效果打斷觀者的觀看，回到中立的觀看位置，如此既親近又疏離的辨證形式，提供女性觀者更客觀的方式觀看，不受固定意識形態的侷限，召喚女性觀者享受擺盪於主、客體之間多元的觀看快感。

本論文共分為三大章，第一章回顧敢曝理論，並探討歌舞電影與敢曝的關係，第二章應用敢曝的理論檢視《洞》和《天邊一朵雲》，探討蔡明亮如何運用扮裝表現女性千面女郎的形象，並且表現女性充滿力量的慾望主體，再提出蔡明亮如何在《天邊一朵雲》中發揮敢曝的嘲諷與批判特質，顛覆A片中的性、性別與色情。第三章先回顧女性觀者的理論，再分析蔡明亮如何運用縫合效果與疏離效果，創造出能夠提供女性觀者擺盪於主、客體之間多元的觀看快感。

關鍵字：蔡明亮、《洞》、《天邊一朵雲》、敢曝、女性主義敢曝、女性觀者、縫合、疏

離效果

Abstract

This thesis discusses the representation of feminist camp in Tsai Ming- Liang’s two films — The Hole and The Wayward Cloud from a feminist perspective. This thesis will explore the movies’ mise en scène, camp performances, narrative context, and movement of camera in terms of visual theory, gender theory, and psychoanalytic theory. I want to use the perspective of feminist camp to examine how Tsai appropriate musical film style to present women’s fantasy and desire. Dose his representation of women image in camp performance subverts the patriarchal perception of femininity or does it only accentuate and repeat the stereotypical images of women in the patriarchal society? Are they only the objects of camp or the camp subject? Furthermore, I will discuss how Tsai combine suture effect and alienation effect in these two films to offer female spectator a multiple visual pleasure. 

This thesis divided in three chapters. In chapter one I will overview camp theory. and the relationship between musical films and camp. In Chapter two, I also notice that Tsai expresses women’s powerful gaze and desire in camp strategy in The Hole, and create a campy pornography in The Wayward Cloud to criticize sex, gender, pornography are all performance. In chapter three, I will overview the female spectator theories and analysis how Tsai likes to use suture effect to lead spectators into women’s view in the movie and then using alienation effect and suture to offer female spectator a multiple visual pleasure and lead female spectators to enjoy the narrative.

Keywords: Tsai Ming-Liang, The Hole, The Wayward Cloud, camp, feminist camp, 

suture , alienation effect

本論文為國立成功大學藝術研究所碩士論文，2008，06月24日。

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