蔡明亮電影中的「女性」意義及其運（1993-2004）

這是一篇以女性觀看角度看蔡明亮電影的論文，主要聚焦於片中女性意義分析。蔡明亮的電影處理女性，視女性為心理與身體雙重匱缺的個體與客體，電影敘事內外的「她」都是被偷窺、支配的對象，女性不僅成為蔡明亮對「愛‧ 情‧ 慾」議題的身體試煉場，她深是（身是）作為導演批判現代人飽受異化的工具。又，從空間、歌舞、建物等場景以「寓言」（allegory）的「逆敘事」（counter-narrative）功能作為導演反現代的指喻，而這些場景與空間使用也具有其對階級與性別化的賦義。蔡明亮的電影一方面表達他對特定階級主體虛無的各種悲哀，而這虛無的表義建構是以否決女性來奠立其批判的地基。儘管蔡明亮電影中的「主體」仍是以一種曖昧的、陰性的「男性」為主，但在其電影中對女性及角色的激進意識，反而彰顯了女性之被製造、被憎恨、卑賤化，進一步延伸出在其批判意圖下，女性如何居於最底層的序列。由此，激發觀眾的警醒與反思。

關鍵字

女性；身體；男性凝視；觀影者（位置）；歌舞劇；蔡明亮

並列摘要

This is a female view point of analytical statement to see Tsai Mingliang's film. What's the relationship between images of women in the film (their social and sexual roles) and what scholars can discover about women's lives in any particular context within a film which is produced is also the main issues. I focused in the film about the meaning of female that studying images of women. What meaning does the director give to the women role? He believes that women are lacking in psychological and physical cases. Inside and outside the film narrative, ”she” is the object to be watched and be dominated. Women's roles become the practices the director puts into of love, emotion and sexual lust in his film. Her body is the carrier of desire, and Women's meaning is blurring and homeless. Therefore, if we say that men are the ones been hollowed out, then female is emptiness, lack of themselves.