同志潛影、後遺民與冷戰：以早期華語語系明星白雲為例

Queer Latent Images, Post-loyalism and the Cold War: The Case of an Early Sinophone Star, Bai Yun

許維賢(Wai-Siam HEE)

《文化研究》 31期 (2020/10) Pp. 43-82

https://doi.org/10.6752/JCS.202010_(31).0003

摘要

本文透過早期報紙、電影畫報、影片和白雲親筆文章及相關回憶錄等史料，把白雲的明星生涯置於從抗戰到冷戰的語境進行深入考察，並對其另類的同志潛影和中國性進行分析。本文從華語語系和後遺民論述透視出生馬來亞的白雲橫跨中國大陸－香港－臺灣－南洋四地的離散經驗，探討白雲作為中國性的後遺民各種錯植和頹廢的離散經驗，追思他那些風流艷史如何顛覆了現代中國國族論述的正統？白雲「娘娘腔」的「美人」明星造型、同志潛影和風流艷史又是如何挑戰現代中國性的陽剛霸權和同質性？本文挪用明星理論對白雲的明星生涯和反宣傳手法進行梳理和分析，並釐清男明星白雲作為一種消費現象在早期華語語系文化圈的形成，他在銀幕上操演傳統中國陰柔的風流才子造型，也有意識在私生活中頻頻不羈與男女明星製造緋聞的反宣傳手法，這一切呼喚和建構一種具有同志潛影的銀幕形象，在成功引起社會大眾凝視和爭議的同時，也觸怒了國共兩黨現代媒體所要維持的國族父權社會文化秩序。他的個案顛覆了離散華人論述視野下的「源」與「流」之間的主從關係，體現了早期華語語系大眾的需求、夢想和集體無意識是如何被現代中國性、現代性、抗戰、國共內戰和冷戰的各種意識形態進行編碼、調節或壓抑。

關鍵字

後遺民 ； 中國性 ； 華語語系 ； 冷戰 ； 同志 ； 風流才子

並列摘要

This essay sets the career of early Sinophone star Bai Yun (1916-1982) in its Second Sino-Japanese War to Cold War context, using materials from early newspapers, magazines, film, Bai Yun's own writings, and memoirs to analyze his alternative queer latent images and Chineseness. The essay uses a post-loyalist perspective to examine Malaya-born Bai Yun's diaspora experience, which spanned Mainland China, Hong Kong, Taiwan, and Southeast Asia. It discusses Bai Yun's various displaced and decadent diaspora experiences as a post-loyalist Chinese, and explores how his amorous exploits upturned the upright orthodoxy of modern Chinese nationalism. Bai Yun's ＂girlish＂ pin-up star image, queer latent images, and amorous history challenged the hegemony of masculinity and homogeneity within Chinese Nationalism. The essay also applies star theory to analyze Bai Yun's career and reverse publicity methods, examining the formation of Bai Yun as a consumption phenomenon in the early Sinophone cultural sphere. On screen, he performed with the stylings of a traditional Chinese feminine dashing young scholar; off screen, he frequently created scandals involving other male and female stars as part of a reverse publicity strategy. This called up and constructed an on-screen persona with a queer latent image. While he successfully attracted controversy and the gaze of the audience, he also enraged the nationalist patriarchal socio-cultural order that the modern media of the KMT and CCP wished to maintain. His case subverts the primary-subordinate relationship of ＂roots＂ and ＂routes＂ as seen in diaspora Chinese discourse, embodying how the needs, dreams, and collective unconscious of early Sinophone audiences were encoded, mediated, or repressed by Chinese Nationalism and the various ideologies of the Second Sino-Japanese War, the Chinese Civil War, and the Cold War.

並列關鍵字

Post-loyalist ； Chineseness ； Sinophone ； Cold War ； Queer ； Dashing young scholar

參考文獻

〈作者不詳〉。1946d。〈白雲一嫁再嫁的結果〉“Bai Yun yijiazaijia de jieguo” [The Consequence of Bai Yun got married and remarried]，《海晶》Haijing [Sea Pearl] 40: 6。

〈作者不詳〉。1946e。〈白雲侮辱我飛行健兒！〉“Bai Yun wuru wo feixing jianer!”[Bai Yun insults our flying warriors!]，《香海畫報》Xianghai huabao [Fragrant Sea Pictorial] 4: 7。

〈作者不詳〉。1948a。〈白雲三度結婚，對象麥明是女侍皇后〉“Bai Yun sandu jiehun, duixiang Mai Ming shi nushi huanghou” [Bai Yun marries for the third time, his partner Mai Ming serves an empress]，《電影話劇》Dianying huaju [Film and Theater] 8: 19。

〈作者不詳〉。1948b。〈白雲三度訂婚〉“Bai Yun sandu dinghun” [Bai Yun engaged for the third time]，《青青電影》Qingqing dianying [Qingqing Cinema] 18: 1。

〈作者不詳〉。1948c。〈白雲麥明同居〉“Bai Yun Mai Ming tongju” [Bai Yun and Mai Ming live together]，《青青電影》Qingqing dianying [Qingqing Cinema] 37: 1。