- 學位論文
家非家：鍾孟宏電影中的詭態、間際與遲延
Unhomeliness at Home: The Uncanniness, Liminality, and Belatedness in Chung Mong-hong’s Films
摘要
本論文解析台灣導演鍾孟宏的「孩童三部曲」─ 《醫生》（2006）、《停車》（2008）及《第四張畫》（2010）中的主體如何在家庭的分裂崩解中重建自我、社會關係及家庭價值的過程及可能性。援引自霍米•巴巴（Homi Bhabha）關於「無家」（unhomeliness）、「詭態」（uncanniness）、「間際」（liminality/in-betweenness）及「遲延」（belatedness）之觀點，本文聚焦於角色如何藉由過去╱現在、生命╱死亡、內在╱外在以及自我╱他者的往復協商下，達成主體的自我認識及建構。同時探討導演如何透過多重之雜沓符號與相異時空組合的暗喻，勾勒出台灣當今面臨全球化的社會問題及人際關係，藉由其出色意譯故事情節的手法與極具風格化的鏡頭影像，展現對於生命及社會整體互助溝通的正向關懷與期望。
並列摘要
The thesis aims at investigating Taiwanese film director Chung Mong-hong’s “child trilogy” – Doctor (2006), Parking (2008), and The Fourth Portrait (2010) – via Homi Bhabha’s theories of unhomeliness, uncanniness, liminality and belatedness in terms of themes, iconography, camerawork, and narrative strategy. By demonstrating how the characters in the films experience different levels and modes of unhomeliness at home, and how an unhomely home reflects the society/world through the light of Bhabha’s discourses, my argument emphasizes that the subject negotiating between the past/present, inside/outside, self/other is constantly adapting to new information and new circumstances to retrieve and renew the meaning of home in search of new identities. Besides analyzing how Chung delineates the desires and attempts to recapture a romanticized or idealized notion of home on a micro-level (at the individual scale of domestic dwelling-space), this thesis will discuss how Chung crystallizes the interrelation and countertendency occurring on a macro-level (at national or international scale). In the three films, various ethnicities together portray the impact of globalization and industrialization we are confronting in the twenty-first century. Shaped by accidental encounters, contingency and chance, the characters’ journeys explore both mythical past and modern uncanniness within the “third space” to produce multiple possibilities. This thesis will also investigate the aesthetics, cross-referentiality and intra-textuality of the trilogy. As the multiple storylines go hand in hand with his aesthetics, Chung’s hand-held camera with its abnormal close-ups, high contrast color scheme, and the “interstitial frames,” neatly set him apart from his precursors and contemporary film directors. The strong sense of connection and repetition finds expression not only in the narrative within each film, but each of them should be conceived in an interlocking entity where they are connected to, utilized by, and dialogued with one another from a transmedia perspective. In the three films, every person, event and object is not just an independent part but keep reprising and echoing with one other, which articulates a more complex layers of corresponding image, social space, and self-identification together forming a complete circle of the director’s philosophy about life and death as a consummation.