英文摘要 |
In the French film "Indochine" (1992), Etienne's baptism sets up the Name-of-the-Father of the spear side and reinforces that of the distaff side. From the outset, Eliane launches the (post)colonialist dialectic and manages to appropriate the Name-of-the-Father by instilling into the Vietnamese mentality the master/slave relationship which, inherent to its functioning, is wittingly manipulated by the colonizers. As Camille's adoptive mother, the mistress of the Lan-Sai plantation and the intradiegetic-homodiegetic narrator of the film, Eliane turns out to be the legal, economic and discursive avatar of the Name-of-the-Father. Jean-Baptiste, Camille and Etienne revolve around Eliane like a constellation, constituting a mechanism of its doubles. Since the film bears on two generations' politico-cultural initiation, Camille and Etienne are the objects of the (post)colonialist dialectic the mechanism of doubles secures. |