欲望三部曲：論王家衛的電影《阿飛正傳》、《花樣年華》與《2046》

Wong Kar-wai's Trilogy of Desire: On ＂Days of Being Wild＂, ＂In the Mood for Love＂ and ＂2046＂

本文主要以拉岡精神分析學派的理論詮釋王家衛的三部電影《阿飛正傳》、《花樣年華》與《2046》，探索其中懷舊、記憶、身份認同、欲望與幻象之間彼此縱橫錯雜的交互關係；筆者將由精神分析的觀點指出，王家衛對六十年代的懷舊如同他作品中的角色對記憶的執著，均是主體在無法擁有穩定的符號身份時逃避創傷核心以維持自我確定感與存有假象(the semblance of being)的作法。此外，筆者也將指出，王家衛的六十年代、旭仔所想像的生母以及周慕雲理想化的蘇麗珍均表徵烏托邦幻象中一個可能存在的完滿境界或珍貴的失落物件，引導著主體的欲望。本文的第一部份將分析《阿飛正傳》中旭仔對大對體欲望之謎的執迷以及他的無腳鳥幻象與欲望，第二部份則是詮釋《花樣年華》表面的故事下暗中流動的欲望以及浪漫愛情背後的欲望真相，而在第三部份筆者將指出周慕雲與蘇麗珍不圓滿的愛情在《2046》成為勾動周慕雲欲望的因素，驅策他不斷重複尋找相似的人物與情境，也引發這部作品裡所有敘述的流動。

Seeking to interpret Wong Kar-wai's three movies set in the '60s, namely ＂Days of Being Wild＂, ＂In the Mood for Love＂ and ＂2046＂, as a trilogy of desire in terms of Lacanian psychoanalysis, this paper explores the intricacies woven by such issues as nostalgia, memory, identity and desire delicately represented in these three cinematic texts. The nostalgia for the '60s in Wong's movies lays bare utopian fantasy, which sustains the subject's desire. Both the biological mother, whom Yuddy fantasizes about in ＂Days of Being Wild＂, and the ＂Woman＂ So Lai-chen, whom Chow Mu-wan idealizes in the films ＂In the Mood for Love＂ and ＂2046＂, stand for the utopian fantasy of a certain plenitude of being or a precious lost object inducing the subject's desire. The first part of the paper examines Yuddy's fundamental fantasy of the ＂footless bird＂ and his obsession with the answer to the enigma of the Other's desire. The second part scrutinizes the detour of the unconscious desire behind the romantic love in ＂In the Mood for Love＂. In the last part, which deals with ＂2046＂, the loss of the beloved one, So Lai-chen, is interpreted as the traumatic core that causes Chow's desire to quest repetitively for women and situations reminiscent of So, the incarnation of the Woman.