愛的不可能任務：《色∣戒》中的性──政治──歷史

The Mission Impossible of Love: Sex-Politics-History in ＂Lust, Caution＂

本文將以「愛國主義」的國族情感政治為出發，探討李安電影《色∣戒》一片中有關「愛」的「情感召喚」與「影像機制」，展開兩個中心議題的提問。第一組提問：愛國主義作為一種「影像再現」與愛國主義作為一種「影像機制」有何不同？如果《色∣戒》所鋪陳的不只是一個愛國學生殺漢奸的故事情節，那該片的鏡頭剪接與場景調度如何愛國、如何殺漢奸？第二組提問：「愛國」的「愛」與「愛人」的「愛」究竟是不是同一種「愛」、同一種「精神機制」？而「愛國」與「愛人」之間又可以有什麼樣的連結與悖反？而什麼又是國族之愛與浪漫之愛的弔詭依存？針對以上的提問，全文將分別從「愛」的聲音召喚、「愛」的視覺縫合、「性」的身體政治與「歷史」的內在皺摺等四個方向，展開對《色∣戒》「愛國主義」的探討，以凸顯愛國乃為一種不斷重複加強、重複引述的「踐履行動」。而《色∣戒》作為一部至為獨特的「愛國片」，正在於它展現出一種至為獨特的「沒有國家的愛國主義」，從「情感政治」的角度回應當前「沒有民族主義的民族」或「沒有國家的世界主義」，同時鬆動愛國主義作為國家愛國主義的預設與當前「後國族」與「世界主義」的歐洲模式預設，以其歷史文化的殊異性與情感政治的幽微度，迂迴逃逸於當前「國族主義」、「穿國主義」、「離散論述」與「全球主義」的論述侷限。

This paper takes the affective politics of patriotism as a point ofdeparture to explore the emotional interpellation and visualmechanism of love mapped out in ＂Lust, Caution＂ by Ang Lee. Itelaborates upon two lines of enquiry: the first one focuses upon thepossible difference between patriotism as ＂visual representation＂and patriotism as ＂visual mechanism＂ by asking how the montageand mise-en-scène of the camera, in parallel to the actions of thecharacters in the plot, can also love the country and kill the nationalbetrayer; the second one centers upon the paradoxical relationshipbetween romantic love and love of country by asking whether theymight share the same psychic mechanism of love as imaginaryidentification. Accordingly, the paper is divided into four parts tomap out respectively the intersections of love as acousticinterpellation, love as visual suture, sex as body politics and historyas internal folds. It highlights patriotism as a repetitive and iterative＂performative act＂ and ＂Lust, Caution＂ as a film of ＂patriotism withthe state,＂ endowed with a historically sensitive and affectivelypowerful ＂singularity＂ to challenge the ＂postnational＂ concepts of＂nations without nationalism＂ and ＂cosmopolitanism without thenation-state＂ and to provide a new possibility to theorize beyond thecurrent discoursive impasse of nationalism, transnationalism,diaspora and globalization.