論文發表人：王嘉蘭(南加州大學博士班)
本論文探討李安「色戒」一片當中，再現四零年代上海以刻畫及女性受苦影像之間的關係。論文從過去十年來中文電影裡所表現的「中國性」的概念出發，思考以下幾個問題：本片從兩個層面表現出懷舊的主題，一為故事發生在四零年代受到帝國主義壓迫同時又充滿異國色彩的孤島時期上海；二為片中對墮落女子的描寫，呈現出拉岡理論中原始自我認同過程中異化的概念；在這當中，對東西方觀眾而言，這種對懷舊主題的探討以及炒作，在文化翻譯以及交易的過程當中所扮演的角色；再者，透過男女主角所表現出的感傷主義如何再現國族創傷；片中三場虐待與被虐，精神與身體痛楚交錯的床戲所呈現出的心理運作為何？在此歷史傷痛轉變成文化拜物的過程中，華人社會如何以自我再現的方式發聲？最後，本論文探討性別政治在李安改編張愛玲小說的電影中與國族議題密不可分的關係。
This paper looks into Ang Lee's 2008 film, Lust, Caution and contemplates the way the portrayal of a woman's sufferings informs the cinematic representation of the war-torn Shanghai during its semi-colonial period in the 1940s. Considering the prolific (re)production and dissemination of the imageries of "Chinese-ness" in Sinophone films for the past decade, I investigate several problematics raised by Lee's film: In a period film such as Lee's which evokes nostalgia in two senses -- the mise-en-scène of Shanghai in its "isolated island" [gudao] era as a port city where both anti-imperialist patriotism and cosmopolitanism were both at their heights on the one hand; and through the portrayal of an "abandoned" woman, the re-staging of the primal identificatory scene of alienation à la Lacan on the other—what role does the consumption of such nostalgia by audiences both in the East and the West play in the kind of cultural translation frequently associated with Lee's films? If the affect of nostalgia is channeled through both the female and male protagonists' excessive sentimentalism (Wang Chia-chi's emotional outbursts on several occasions in the story and Mr. Yi's display of repressed sorrow in a particular scene added by Ang Lee), to what extent does the visual representation of individual psychic pains reconfigure the national trauma in China's contemporary history? Moreover, what sort of economy of power is constituted by the intertwining of such sentimentalism and the physical violence expressed in the three infamous scenes of Wang and Yi's sado-masochistic sexual intercourses? In other words, to what extent does the transformation, if any, of such traumatic historical memories into a cultural fetish operate as a form of empowerment on the part of Sinophone communities in such cinematic self-representation? Finally, if, as Lee points out himself in an interview, the tragic story narrated in the form of film noir gravitates around a line in Zhang's original story, "the way to a woman's heart is through her vagina," how does one account for the way the dramatization of a woman's psycho-somatic struggle "genders" national consciousness in Lee's film?
