Lost Generation in the City: Spatial Subjectivity in Fruit Chan's Made in Hong Kong

余淡如　加州大學河濱分校比較文學系

 

http://www.crossroads2010.org/

 

本文探討香港因九七而躍起的本土電影中十分關注的兩個主題: 創傷以及即將消失的日常性。九七前後的香港電影由於本土意識的提昇加上面對回歸中國的種種想像，形成一方面對九七回歸的渴望與另一方面對九七後香港主體性即將失落的不安。陳果電影中即運用即將邁入成年的青少年們來比喻香港的現在與未來，少年對未來的無知與迷惘，以及對成人的不信任指出對回歸中國的不安。<香港製造>中的建築物與城市空間也表現出城市生活中不斷被分割與疏離的城市人。陳果運用切割的影像與城市空間中市區與郊區的對立描繪在面對一個主體性轉變的時刻人們的無知與不在乎。本文探討影像中的城市與其關注的國族想像來探討身分認同的多重性以及不確定性。

 

Made in Hong Kong was originally shot in 1996 with amateur actors and left-over film from different studios. However, when released in 1997, this low-budget film gathers numerous domestic and international awards, becoming the miracle of the film industry after the 1997 turnover ceremony. The director, Fruit Chan, is characterized by his keen political and social concerns with his special attention to the lower-class in Hong Kong. The reason for the film's popularity perhaps also lies in its keen connection to Hong Kong's social and political reality. Made in Hong Kong presents a gradually alienating city where the future generation loses their way. With a close examination of camera work, sound and editing style, I argue that the alienation factor of the city space and the lost generation that seems to trapped in the social reality represent Chan's concern and resistance to Hong Kong's unknown future.