全球城市區域治理之外香港的跨境身分論述與再現

以香港近年區域一體化過程中的跨境身分論述與再現爲例，本文旨在說明城市身分想像如何折衝協商全球城市區域強調彈性與開放的資本邏輯與著重人口福利與規訓的治理邏輯之間的緊張關係。全文共分四部分。第一、二部分分析香港近年具代表性的官方論述（香港品牌形象與後CEPA時代的區域主義論述），力求釐清香港由全球城市轉型爲城市區域的過程，藉由哪些論述實踐來定義自身新的區域身分。第三部分探討香港報紙對1997年居權案與近年跨境犯罪的報導。傾向保護主義、強調防禦香港邊界的新聞報導可說是Balibar所謂「邊界的繁生」(the multiplication of the border)的明證。換言之，傳媒論述中對開放邊界與珠三角融合的焦慮語言，重新強調香港邊界的實存，弔詭地在社會想像中創造出一個安全屏障，也因此間接處理了城市區域治理與區域經濟整合之間的矛盾。第四部分透過另一類微觀論述，亦即兩部香港電影《甜蜜蜜》與《榴槤飄飄》，來對照比較官方論述與媒體報導中或缺席或刻板的他者再現。影片所展現的不同程度世界主義式的悅納異己的想像，和緩了全球城市區域治理不足的問題，在文化上維繫了區域化的發展。同時，影片作爲文化文本呈現新的跨境想像與社會主體。片中主人翁的角色形塑與生命故事的具體再現，開啟了承認全球城市區域跨境新社會主體的可能性，進而提供我們思考在東亞城市區域的脈絡下，實現Balibar所言「邊界民主化」(democratization of borders)理想的展望與挑戰。

關鍵字

全球城市區域；香港都市身分；跨境治理；邊界想像；社會主體再現

並列摘要

Focusing on Hong Kong, this study foregrounds tensions in the building of the global city region between flows of capital and cross-border governance to demonstrate how cultural identities are vital in making possible regionalization, given the lapse of re-adaptation of governance behind the territorial expansion of capital circulation. The argument is divided into four sections. The first and the second sections expound changes in the official campaigns of Hong Kong identity (such as the branding of Hong Kong as a world city and the discourse of regionalism in the post-CEPA era) to show the ways urban planners and administrators of Hong Kong seek to redefine the identity of the city in the increasingly integrated economy at the tip of the Southern China region. Then, the third section switches the attention to the journalistic accounts (between 1999 and 2007) of the right of abode of mainland children born to Hong Kong residents and the cross-border criminal activities to find a discernable proclivity towards protectionism and closing up of the city border, which I see as an instance of ”the multiplication of the border,” to draw on Étienne Balibar's concept. In this case, the language of anxiety over opening up the city border to form a larger economic body, paradoxically, creates in the realm of the social imaginaries a buffer zone in which the reassertion of Hong Kong's border, rehearsed in the newspaper articles covered in my discussion, symbolically addresses the said tensions between circulation of capital and limitations of municipal governance. Finally, I move to the cinematic representations of Hong Kong Identities. The two films, Comrades, Almost a Love Story (1996) and Duran, Duran (2000), reveal much more sophisticated examination of how one can imagine identities of a city-region rather than the city proper. In contrast with the official accounts of Pan/Greater Pearl-River Delta integration and the journalistic reports of border-crossing, the micro imaginaries of Hong Kong identities manifest in the films, I contend, culturally sustain regionalization so that these more or less cosmopolitan imaginaries ease the anxiety over insufficient governance. At the same time, these cinematic representations offer possibilities of recognizing the emergent social subjects brought about by the regionalization of Hong Kong and of envisioning the hopes and challenges of integration in the sense of what Balibar means by ”democratization of borders.”