國家不想要的人：《超級大國民》的哀悼政治

本文以導演萬仁的作品《超級大國民》為對象，探討政治受難的不可哀悼與哀悼完成。前行研究已指出1949年國民黨遷台後，台灣被納入國共內戰的「戰爭之框」中，形成「共產集團」vs.「自由民主陣營」的框架，區分「愛國之士」與「共匪嫌疑人」的差異生命。本文分成「不可哀悼的場景」與「心頭的兩座墳：尋墳、哀悼與贖罪」兩部份討論不可哀悼性與哀悼的追尋。首先，「國家不想要的人」的死亡與創傷成為不值得哀悼的一方。其次，政治受難者的獨白、瘋癲、凋零、顧左右而言他，以及國家剷除「記憶所繫之處」使得哀悼更顯艱難。其三，哀悼的重要性在於理解我與他者之間的相互連結、相互依存、相互聯繫。《超級大國民》以祭祀六張犁的亂葬崗、受難家屬的骨灰、第二代的創傷賦予哀悼意義，強調活著的人必須哀悼才能釋懷；死去的人必須成為被哀悼主體才能被記憶。

關鍵字

萬仁；《超級大國民》；哀悼；白色恐怖；戰爭之框

並列摘要

This paper focuses on film director Wan Jen's Super Citizen Ko to explore the unmournable political suffering and the completion of its mourning. Previous researches have pointed out that after the Kuomingtang retreated to Taiwan in 1949, Taiwan became trapped in the frame of the conflict between the "communists" and the "liberal democrats" in the Chinese Civil War, and the "patriots" were differentiated from suspected "communist spies." The unmournable nature of political suffering and the search for mourning are discussed in two parts, namely "Unmournable Scene" and "Two Graves in the Heart: Grave-Seeking, Mourning, and Atonement." First, the death and wounds of the people unwanted by the nation became unmournable. Second, the monologues, madness, and withering of political victims, along with their evasion of subjects and the erasure of the places of their memories by the nation, has further increased the difficulty of mourning. Third, the value of mourning lies in understanding the connection and interdependence between oneself and others. Super Citizen Ko grants meanings to mourning through the worshipping of the unmarked graves in Liuzhangli, the ashes of the victims' families, and wounds of the second generation, stressing the inevitability of mourning in the process of relieving sadness. Political victims who have lost their lives can be remembered only if they are the subjects of mourning.