女性主义电影理论
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此外,由于庞德对越南闹街路况不甚熟悉,使得坐在后座的林葳几度都想替代前座的庞德驾驶,然而驾车向来被赋予强烈的男性特质,反映在男人之间比较气概与争取荣誉的竞赛,在奔驰中人车成为一体,而速度与男性雄风更成正比,这使得庞德想当然不会允许林葳剥夺他塑造男性气质的重要物件,于是当女性想要接触交通工具时,换来的通常是挫折与责骂,而嘲弄女性不懂机械、缺乏方向感、不够勇敢果志弘,1994:157)。
As it in the patriarchal culture, women as a symbol of male opponents were ruled and restricted. Men can impose their fantasies and obsessions onto the female images through the language instructions, and the women were survived in men’s fantasies and obsessions. While female are still being tightly bound as a person of the creators rather than the carriers. (Mulvey, 1975)
女性主义电影理论─莫薇(Mulvey)视觉快感与恋物癖??
Feminist Film Theory-Mulvey Visual Pleasure and Fetishism
男性─「凝视」的快感
Male- Pleasure of “gazing”
就杨紫琼饰演的女性中国情报员林葳而言, 其倾向带有「阳刚化」的女性特质,
?? 解除「阉割焦虑」─给予阳具象征
再则,关注于片中林葳的武打形象,以Mulvey的观点而言,《明日帝国》还是延续着好莱坞情节公式,带有各种明显的拜物主义与阳具象征。首先就林葳不时使用绳索、铁勾等脱逃器具而言,暗示的是一种补偿性的「阉割威胁」,这使得男性为了逃避女性没有阳具的事实,于是给予女性利器、高跟鞋、机关枪等物件,以替代女性没有/失去的阳具,此即「恋物癖」,并因此可名正言顺的凝视女性。而「恋物癖」同时抬高了对象物的身体美感,并将之转化为本身就能使人满足的事物(Mulvey,1975),因而反映在「明日帝国」电影中,男性为了平抚女性身体可能引起的焦虑,消弭性别差异造成的恐惧,于是试图在女性身上发现阳物的部分,像是本片尾段落中林葳在意图消灭卡佛余孽时,双手持机关枪、长发披肩,以及行动中尚穿着的高跟鞋与使用兼具万能钥匙的特制耳环。值得注意的是,本片着重在强调林葳不具杀伤力的拳脚功夫、喜好耍弄绳索、铁勾,而尽量不使用西方科技的特点(只有前述所言,在意图摧毁卡佛基地、消灭余孽时,才手持机关枪行动),正巧和庞德乐于使用新型科技(像是驾驶BMW750IL宝马轿车、使用高科技全功能遥控系统电话与最新型的沃特PPK型手枪)做一明显区隔,反映在两人自越南相谐逃命的片段中,危机时刻总是由庞德开枪的情势端看,正意味着本片试图在减轻男性阉割焦虑的基础上,所给予较不具威胁性的阳物象征,这除了得以缓和林葳原先所具备的阳刚化特质之外,也意在确保西方(男性)自命优越的传统。此外,从庞德与林葳的不期而遇,到两人共同打击犯罪的过程,象征着白人男性在一步步地解除林葳作为女性他者的神秘性,因而不经意跟随林葳的行踪,再藉由挽救她的匮乏,进而贬低了看似英勇的女性, 来抵销阉割的焦虑(Mulvey,1975)。
如同在父权文化里,女人是作为象征着男性异己(male other)的符征,她受到了象征秩序的限制和束缚,使得在这个象征秩序里,男人可以透过语言上的指令,将他的一些幻想(fantasies)和偏执(obsessions)强加在女性缄默的影像上,而继续活在他的幻想和偏执里;而女性则仍是被紧紧地束缚在她作为意义的承受者而非意义创造者的地位上(Mulvey, 1975)。
如同两人刚从卡佛的大厦逃出之际,关于交通工具由谁来驾驶的问题就僵持不下,最后仍交由庞德驾驶。而庞德藉由叫林葳转身勘查敌方动态的机会避开了林葳可能与他直视行进方向的威胁、也无不确保了白人男性意欲掌握行动主权的企图,即使是身手矫健的中国女情报员也不例外。
It is the same as when they escaped out from Garver’s empire, who is driving the transporter became a problem. Though, finally, it is driven by Bond. The action that Bond let Wai Lin turn around to detect enemies’ action that prevent her from looking forward which clearly represent the desire of Bond to ensure the sovereignty of the attempt to grasp the decision even the a Chinese agent.
此处男性的观看不仅仅是注视而已,还夹带着行动以及占有的威力。而对杨紫琼饰演的林葳来说,她不但是突显了庞德可能的欲望,而且接受并回敬凝视,然而这凝视并无任何威力(Kaplan,1997:59)。
It is not only just watching, but also carried with the power of action and possession. To Wai Lin, she highlighted Bond’s desire and accepted it, conversely, this gaze is powerless. (Kaplan, 1997:59)
由后座越过前座的转身过程给予两人目目相视的片刻,如同林葳对庞德说:「别想歪了」,而庞德则回应:「我没想过」(但面露微笑,意味可能有类似想法)的对话中,不可避免的透露了具有决定性作用的男性注视(gaze),将对性的幻想投射在女性身体上。
There is a short period time that these two people had an eye to eye contact, as Wai Lin said “don’t get any ideas”, and Bond replied with “I wouldn’t dream of it”. However, a smile appeared on his face which indicated that might be true. This is the male gaze which projected the sexual fantasies into the female body.
然而,值得注意的是,以片中一段极为惊险的越南闹区机车追逐战为例,林葳为了探测敌人动态,必须越过前座正在驾驶的庞德才能往后看。
However, it is remarkable that the motor chasing in a Vietnam downtown, in order to detect the enemy, Wai Lin must cross Bond driving in front seat to look back.
而庞德虽总在执行任务时和林葳不期而遇,然却少有机会与其做近距离的接触,至多是两人同时遭遇追杀,故而相偕逃命的几场画面。
Bond and Wai Lin meet always in a coincidence during the mission, though merely have chance to make close contact or quickly separated.
?? 展现武打动作的女性奇观
Demonstrate the martial art show of woman
虽然影片中的林葳是个身手俐落的女打仔,可以作为对父权文化塑造女性传统既定特质的一种反抗形式,甚且制造女性与形象间的差距,来与文化所建构的女性特质保持距离,进而提出批判(游惠贞,1994:316)。
In addition, on the busy street in Vietnam, Bond was unfamiliar of the road which made Wai Lin in the back seat want to replace to drive. However, the drivers have always been given a strong male character, reflected on the comparison of spirit and racing honor between men. Being the car when racing represent the masculinity which made Bond granted will not allow Wai Lin deprived him of his masculinity. Therefore, when women want to access to a transporter, usually, in return of the frustration and blame which teasing women do not understand the machine, lack of sense of direction or not brave. These are the obstacles which prevent women to come across the mobility of gender boundary. (Wang Zhihong, 1994:157)
以本片为例,林葳只有在初次参与卡佛集团的记者会中穿着得以展露女性特质的银色长礼服,尔后都是以裤装示人,其中不乏剽悍的皮夹克与夜行装。
For example, in this film, there is only one time that Wai Lin appeared with a feminine long silver dress in the Carver Group conference, and later on the appearance are more wearing with pants and leather jacket.
使得林葳一角能够暂时逃逸过往庞德女郎成为好莱坞电影塑造典型女人成为被动客体的特质,而这种性别秩序的颠覆性展现在林葳不穿着比基尼裸露衣物、不浓妆艳抹、不随便被庞德征服,而动辄以硬底子功夫示人、与男性相互抗衡的镜头。
Wai Lin which is casted by Michelle Yeoh is a Chinese agent with the “masculine” femininity. Based on the specific feature, the role, Wai Lin can temporarily escape from the past typical Hollywood Bond girl mode which the women always were a passive objective. However, a woman without a bikini, no makeup and not easily conquered using Kung fu to against the violence with man had totally submersed the gender order in Hollywood Bond films.
As it in the patriarchal culture, women as a symbol of male opponents were ruled and restricted. Men can impose their fantasies and obsessions onto the female images through the language instructions, and the women were survived in men’s fantasies and obsessions. While female are still being tightly bound as a person of the creators rather than the carriers. (Mulvey, 1975)
女性主义电影理论─莫薇(Mulvey)视觉快感与恋物癖??
Feminist Film Theory-Mulvey Visual Pleasure and Fetishism
男性─「凝视」的快感
Male- Pleasure of “gazing”
就杨紫琼饰演的女性中国情报员林葳而言, 其倾向带有「阳刚化」的女性特质,
?? 解除「阉割焦虑」─给予阳具象征
再则,关注于片中林葳的武打形象,以Mulvey的观点而言,《明日帝国》还是延续着好莱坞情节公式,带有各种明显的拜物主义与阳具象征。首先就林葳不时使用绳索、铁勾等脱逃器具而言,暗示的是一种补偿性的「阉割威胁」,这使得男性为了逃避女性没有阳具的事实,于是给予女性利器、高跟鞋、机关枪等物件,以替代女性没有/失去的阳具,此即「恋物癖」,并因此可名正言顺的凝视女性。而「恋物癖」同时抬高了对象物的身体美感,并将之转化为本身就能使人满足的事物(Mulvey,1975),因而反映在「明日帝国」电影中,男性为了平抚女性身体可能引起的焦虑,消弭性别差异造成的恐惧,于是试图在女性身上发现阳物的部分,像是本片尾段落中林葳在意图消灭卡佛余孽时,双手持机关枪、长发披肩,以及行动中尚穿着的高跟鞋与使用兼具万能钥匙的特制耳环。值得注意的是,本片着重在强调林葳不具杀伤力的拳脚功夫、喜好耍弄绳索、铁勾,而尽量不使用西方科技的特点(只有前述所言,在意图摧毁卡佛基地、消灭余孽时,才手持机关枪行动),正巧和庞德乐于使用新型科技(像是驾驶BMW750IL宝马轿车、使用高科技全功能遥控系统电话与最新型的沃特PPK型手枪)做一明显区隔,反映在两人自越南相谐逃命的片段中,危机时刻总是由庞德开枪的情势端看,正意味着本片试图在减轻男性阉割焦虑的基础上,所给予较不具威胁性的阳物象征,这除了得以缓和林葳原先所具备的阳刚化特质之外,也意在确保西方(男性)自命优越的传统。此外,从庞德与林葳的不期而遇,到两人共同打击犯罪的过程,象征着白人男性在一步步地解除林葳作为女性他者的神秘性,因而不经意跟随林葳的行踪,再藉由挽救她的匮乏,进而贬低了看似英勇的女性, 来抵销阉割的焦虑(Mulvey,1975)。
如同在父权文化里,女人是作为象征着男性异己(male other)的符征,她受到了象征秩序的限制和束缚,使得在这个象征秩序里,男人可以透过语言上的指令,将他的一些幻想(fantasies)和偏执(obsessions)强加在女性缄默的影像上,而继续活在他的幻想和偏执里;而女性则仍是被紧紧地束缚在她作为意义的承受者而非意义创造者的地位上(Mulvey, 1975)。
如同两人刚从卡佛的大厦逃出之际,关于交通工具由谁来驾驶的问题就僵持不下,最后仍交由庞德驾驶。而庞德藉由叫林葳转身勘查敌方动态的机会避开了林葳可能与他直视行进方向的威胁、也无不确保了白人男性意欲掌握行动主权的企图,即使是身手矫健的中国女情报员也不例外。
It is the same as when they escaped out from Garver’s empire, who is driving the transporter became a problem. Though, finally, it is driven by Bond. The action that Bond let Wai Lin turn around to detect enemies’ action that prevent her from looking forward which clearly represent the desire of Bond to ensure the sovereignty of the attempt to grasp the decision even the a Chinese agent.
此处男性的观看不仅仅是注视而已,还夹带着行动以及占有的威力。而对杨紫琼饰演的林葳来说,她不但是突显了庞德可能的欲望,而且接受并回敬凝视,然而这凝视并无任何威力(Kaplan,1997:59)。
It is not only just watching, but also carried with the power of action and possession. To Wai Lin, she highlighted Bond’s desire and accepted it, conversely, this gaze is powerless. (Kaplan, 1997:59)
由后座越过前座的转身过程给予两人目目相视的片刻,如同林葳对庞德说:「别想歪了」,而庞德则回应:「我没想过」(但面露微笑,意味可能有类似想法)的对话中,不可避免的透露了具有决定性作用的男性注视(gaze),将对性的幻想投射在女性身体上。
There is a short period time that these two people had an eye to eye contact, as Wai Lin said “don’t get any ideas”, and Bond replied with “I wouldn’t dream of it”. However, a smile appeared on his face which indicated that might be true. This is the male gaze which projected the sexual fantasies into the female body.
然而,值得注意的是,以片中一段极为惊险的越南闹区机车追逐战为例,林葳为了探测敌人动态,必须越过前座正在驾驶的庞德才能往后看。
However, it is remarkable that the motor chasing in a Vietnam downtown, in order to detect the enemy, Wai Lin must cross Bond driving in front seat to look back.
而庞德虽总在执行任务时和林葳不期而遇,然却少有机会与其做近距离的接触,至多是两人同时遭遇追杀,故而相偕逃命的几场画面。
Bond and Wai Lin meet always in a coincidence during the mission, though merely have chance to make close contact or quickly separated.
?? 展现武打动作的女性奇观
Demonstrate the martial art show of woman
虽然影片中的林葳是个身手俐落的女打仔,可以作为对父权文化塑造女性传统既定特质的一种反抗形式,甚且制造女性与形象间的差距,来与文化所建构的女性特质保持距离,进而提出批判(游惠贞,1994:316)。
In addition, on the busy street in Vietnam, Bond was unfamiliar of the road which made Wai Lin in the back seat want to replace to drive. However, the drivers have always been given a strong male character, reflected on the comparison of spirit and racing honor between men. Being the car when racing represent the masculinity which made Bond granted will not allow Wai Lin deprived him of his masculinity. Therefore, when women want to access to a transporter, usually, in return of the frustration and blame which teasing women do not understand the machine, lack of sense of direction or not brave. These are the obstacles which prevent women to come across the mobility of gender boundary. (Wang Zhihong, 1994:157)
以本片为例,林葳只有在初次参与卡佛集团的记者会中穿着得以展露女性特质的银色长礼服,尔后都是以裤装示人,其中不乏剽悍的皮夹克与夜行装。
For example, in this film, there is only one time that Wai Lin appeared with a feminine long silver dress in the Carver Group conference, and later on the appearance are more wearing with pants and leather jacket.
使得林葳一角能够暂时逃逸过往庞德女郎成为好莱坞电影塑造典型女人成为被动客体的特质,而这种性别秩序的颠覆性展现在林葳不穿着比基尼裸露衣物、不浓妆艳抹、不随便被庞德征服,而动辄以硬底子功夫示人、与男性相互抗衡的镜头。
Wai Lin which is casted by Michelle Yeoh is a Chinese agent with the “masculine” femininity. Based on the specific feature, the role, Wai Lin can temporarily escape from the past typical Hollywood Bond girl mode which the women always were a passive objective. However, a woman without a bikini, no makeup and not easily conquered using Kung fu to against the violence with man had totally submersed the gender order in Hollywood Bond films.