失能、控御與全球風險：《功夫》的後人類表述

Disabilities, the Cybernetic Body, and Global Risk: Posthuman Representation in ＂Kung Fu Hustle＂

通常認為，《功夫》代表導演周星馳個人事業的一個新階段，由外人較難接近的「港式」文化趣味轉而以較寬廣的全球市場為吸引對象。本文想由後人類的觀點來解釋這個全球「轉向」。首先，片中的失能議題不僅直接呈現在敘事內容，也可以說已經滲透到許多武俠敘事套式的身體想像中。這表示《功夫》是在後人類，特別是增能輔助觀點下對武俠敘事傳統進行省思。本文將由兩方面發展這一觀察。首先，本文引用後人類理論來探討《功夫》的武術作為身體控御技術如何重建個體對他界的存認，點出個體可以在跨越人、非人的控御框架下發展以互卸為主的對外應接模式，形成機器控御學轉向。其次，《功夫》的後人類省思顯然呼應了全球化時期「風險社會」的興起。在風險社會裡，無規律入侵成為常態，對他界過度存認的要求使主體對身體機器產生新感受。近年武俠類型的「再興」反映了主體演練這種新感受的需求。另一方面，《功夫》的後人類表述突顯了互卸面向的重要，涉及的已經不僅是新感受的演練。由此著手不但可以釐清該片票房成功的因素，也有助於說明該片除了是熱鬧好看的擬仿之外，也含有高度創新的文化意義。

It is often said that Kung Fu Hustle started a new phase in Stephen Chow's career characterized by a widening of appeal to include global audiences. This essay proposes that this global ＂turn＂ is best explained by considering the posthuman representation of the film. It begins with a consideration of disabilities in the film, a concern not only explicitly represented but essential to the physical imaginary invoked in many of its martial arts topoi, constituting a posthuman or at least prosthetic questioning of the martial arts narrative tradition. This point is then developed in two directions. First, the perspective of posthuman studies is used to establish how reliance on an awareness of the outside points to a cybernetic turn in martial arts as a technology of embodiment, forming a new ＂interpassive＂ receptiveness to the machinic alteration or alternation of the human and its environment. Second, there are obvious affinities between this posthuman receptiveness and the rise of ＂risk society＂ in the era of globalization. In a risk society, the regular intrusion of randomness into order and security calls upon the subject to find new ways of dealing with the excessive presence of the machinic body and its outside. The recent resurgence of the martial arts genre points to a need to engage with this presence. On the other hand, the posthuman dimension of interpassivity envisioned by Kung Fu Hustle exceeds current accounts of the risk society. A reading of this dimension of the film would not only shed light on its success but help explain why it breaks new ground beyond being a hilarious parody of the old.