目前日期文章:201010 (5)

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     Two striking forms of subversion find expression in feminist discourses. They are the anti-narrative and parodic strategies respectively, which are aimed to fight against the patriarchal discourses. 

    

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Prologue

In the play Blue Bird, each person is said to be born with a gift from their previous life. A pair of lovers are unwilling to be separated from each other when their life comes to an end. Before they embark on the journey for next life, they are anxious to know how they can recognize each other in afterlife. The woman says, “I’ll take the gift of ‘sadness’to my next life so that you can recognize me easily.” So, from generation to generation, “sadness” becomes a distinguishing mark of lovers. The couple without true love have no such privilege! And happy is the man who can do without love all his life, for he carries no such gift as “sadness” from his previous life. 

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     Susan Sontag’s comments on photography are so penetrating!

     For those hard-working people, taking pictures enthusiastically on vacations means to appease the anxiety of not working. They are supposed to have fun on vacation, so they take pictures, which is a friendly imitation of work.

     For a family, not to take pictures of one’s children, particularly when they are small, is a sign of parental indifference, just as not turning for one’s graduation picture is a gesture of adolescence rebellion. We like to take pictures of kids when they are so small and cute. That’s to record the youth and vigor which will fade away with the passage of time.

     The same thing with taking pictures of a beautiful landscape. We record the space which we do not possess, so that later, when we look at the picture, it is as if we owned the fantastic sight there. Everything shot by cameras is our belongings. Therefore, to record is to possess; taking pictures is nothing more than a gesture to claim the ownership of space and time.    

     For most people, photography is not practiced as an art. it is mainly a social rite, a defense against anxiety, and a tool of power. Having a camera has transformed a person into something active, a voyeur! The adjustable lens of a camera are just like the penis of a male---to extend and to shot is to invade. How terribly true it is!!

sontag

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Sadism is not a name finally given to a practice as old as Eros; it is a massive cultural fact ---which constitutes one of the greatest conversions of Western imagination: unreason transformed into delirium of the heart, madness of desire, the insane dialogue of love and death in the limitless presumption of appetite

(Madness and Civilization, 210)

     In the film, Quills(鵝毛筆), Marquis de Sade is portrayed as a victim of social hypocrisy. Indeed he is, in the way he is tortured by the ward guardian, who makes a fortune by publishing his writings after he dies miserably in the asylum. Analyzed from the perspective of madness, Sade means more than a victim of Christian morality. He reveals the true essence of madness, as Madeleine, his devoted reader in the film claims, “You can't be a proper writer without a touch of madness, can you?”

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「小太陽的願望」這部影片,和古希臘詩人荷馬的史詩「奧德賽」,有著微妙的相似處,筆者將它稱為迷你的現代版「奧德賽」。

     首先,「小太陽的願望」 中,全家人所乘坐的福斯迷你巴士,等同於「奧德賽」中的返鄉船隻。兩者所承載的人,心中都有所追尋;前者要讓家人在選美比賽中勝出,後者是征戰多年的士兵,極欲返鄉和家人團聚。巴士或船隻,皆是一種能幫助主角追尋夢想的工具。「奧德賽」的追尋,是典型英雄式的探險,必須藉著主角的智慧與勇氣,一路斬妖除魔,才能得到榮耀的勝利;「小太陽」的追尋,是反英雄式的,是小人物在現代社會中渴望擁有的東西---親情。兩者在追尋的主軸下,各自開展出精采無比的故事。「小太陽」雖沒有「奧德賽」的刺激冒險,但家人間彼此心靈的交會,自我的解放,在在引人深思。相對於「奧德賽」的刀光劍影,「小太陽」有的是家人與朋友之間的口角爭執。因爭吵而了解,因了解而體諒、寬恕,最後一家人學會了互相扶持,彼此接納。

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