電影中的身體－《流浪神狗人》身體意象及其敘事性探究

有別於近年臺灣女性導演所關注的性別身體議題，陳芯宜《流浪神狗人》（2008）以三條敘事主線交錯，呈現一則當前社會陷入心靈困境的影像寓言，在現今整體電影潮流已全面走向視覺特效的壯觀奇巧，《流浪神狗人》所講求影像身體實存之量感，頗獨樹一幟，值得深思與探討。本篇論文一方面檢視《流浪神狗人》如何透過一組以缺陷與分裂身體為主的視覺母題，帶出欲望、倦怠、困頓的敘事主題；另一方面，也透過對於電影中身體意象的深入分析，指陳出這部電影敘事底層潛藏社會擬像尖銳的批判論述，其完整與缺憾、符號與擬像、困頓與解放的辯證過程。

關鍵字

身體意象；影像美學；《流浪神狗人》；臺灣電影

並列摘要

The body concept in the films directed by Singing Chen seems quite different from the trends of body politics generally discussed by modern women directors in Taiwan film industry within the twenty years. Her God Man Dog (2008), interconnecting the narrative strategies and the the artistic representation of the body image, explores the problem of existence through a singular semantic system of fragmented body. The main purpose of this study, based on the visual and narrative analysis, intends to clarify how the film God Man Dog depicts a fragmented body image system as a metaphor of social simulacrum and critics of consumerism. In the current digital film environment of technology, where attention is no longer attached to cinematic body image aesthetics, God Man Dog enables viewers to reconsider the inevitable difficulties in life, and to probes the implied dialectics of fragmented body image and its enunciation in the film.