賴皮的國族神話（學）：《牯嶺街少年殺人事件》

A Myth(ology) Mythologizing Its Own Closure: A Brighter Summer Day

黃毓秀(Yu-Hsiou Huang)

《台灣社會研究季刊》 14期 (1993/03) Pp. 1-38

https://doi.org/10.29816/TARQSS.199303.0001

摘要

楊德昌的影片《牯嶺街少年殺人事件》(1991)講述殺淫婦的故事。本論文第一部份嘗試分析影片故事的主題，即父權體制下權力與欲望的難題。第二部分探討此片自我檢視的有趣現象，結果發現，此片並未達到任何有效的自我批評，卻沈浸於對其自身結構的無止盡賞析中。此片的結構之結構性，成爲此片唯一且最重要的主題。如此，藉著將殺淫婦之舉貶爲“不若其大結構重要”，奠基於殺淫婦的整套體系再度得以自圓。

關鍵字

牯嶺街少年殺人事件 ； 楊德昌 ； 佛洛伊德 ； 伊底帕斯情結 ； 基哈爾 ； 李維斯陀 ； 拼裝

並列摘要

De-Chang Yang's film, A Brighter Summer Day (1991), tells the story of the murder of an unfaithful woman. The first part of this paper tries to analyze the theme of the story told by the film, that is, the theme of the problems of power and desire under patriarchy. The second part of the paper focuses on the film's effort at self-scrutiny. It is found that, instead of arriving at any valid self-criticism, the film plunges itself in an unlimited indulgement in, or an unending study of, its own structure. The structuality of the film's structure becomes the theme of the film. Thus, the whole system based on the murder of the unfaithful woman is consolidated once more, this time by way of dismissing her murder as ”something less important than the film's structure.”

並列關鍵字

Sigmund Freud ； René Girard ； Claude Lévi-Strauss ； the Oedipus complex ； bricolage