鏡轉人生－電影《丹麥女孩》中的鏡像認同

第83屆奧斯卡最佳影片、最佳導演的英國籍導演－湯姆霍伯（Tom Hooper），2016年以《丹麥女孩》（The Danish Girl）掀起探討性別認同的話題。有關電影《丹麥女孩》的論述，多集中在性別認同的議題，本文嘗試跳脫性別認同的窠臼，以拉岡的鏡像理論探討其自我認同的歷程。首先，電影中主角埃恩納維金納（Eunar Wegener）多次的攬鏡自映，對身體鏡像的極致注視，是他對自己的深層觀看，是一種鏡像式的自我認同，在鏡前觀照中，埃恩納開啟他的鏡轉人生之途。其次，此部電影呈現觀看與凝視的多維角度，埃恩納在男性主體的欲望觀看成為欲體執行的客體；主角觀看莉莉肖像畫，而畫中莉莉回以凝視，此時真實觀看虛擬，虛擬凝視真實；與櫥窗女郎的目光交織成空間同一性的觀看與凝視，無不形成雙向意識流動與迴圈。最後，本文嘗試以鏡像階段理論，分析電影《丹麥女孩》主角由埃恩納維金那蛻變成莉莉艾勒柏的三階段自我認同。

關鍵字

丹麥女孩；拉岡；鏡像理論；觀看；凝視

並列摘要

British director Tom Hooper, who won the Best Picture and Best Director awards at the 83rd Academy Awards, sparked a discussion on gender identity with his 2016 film "The Danish Girl." While most discussions of the film focus on gender identity, this article aims to explore its self-identity through Lacan's mirror theory. Firstly, the protagonist Einar Wegener's frequent self-reflection in the mirror, his intense gaze upon his own body image, represents a mirror-like self-identity. Through the act of looking in the mirror, Einar embarks on a transformative journey of self-discovery. Secondly, the film presents multiple perspectives on looking and gazing. Einar's desire-driven gaze upon the male figure becomes the object of desire; the protagonist's gaze upon Lily's portrait, met with her gaze in return, blurs the line between reality and virtuality; the interweaving gaze and gaze between Einar and the shop window girl create a spatial identity of looking and gazing, forming a continuous flow of consciousness. Lastly, this article attempts to analyze the three stages of self-identity transformation from Einar Wegener to Lily Elbe using Lacan's mirror stage theory.