英文摘要 |
On August 8, 2009, Typhoon Morakot hit Taiwan, causing great damage to the island, especially the Southern Taiwan. A couple of days later, the term "August 8 flood disaster" began to be used to name this particular disaster. It reminded us of the "August 7 flood disaster" which occurred fifty years ago. In just a few days, the "August 8 flood disaster" almost becomes a historical event having the same weight as other natural or historical disasters, such as the "228 event," "921 earthquake," or "August 7 flood disaster." The disaster, however, was strangely familiar to us. In Tsai Ming-liang's 1998 film, "The Hole", we found uncanny correspondences between fiction and reality, the past work and present situation. It seemed that the "real" and the "fictional" disaster cross-illuminated each other. This paper, therefore, attempts to reread The Hole in light of disaster. This paper is divided into four parts. The first part argues how the disaster in "The Hole" should be treated as a real, intrinsic part of Taiwan, rather than a mere fantasy. In the second part, I examine the peculiarity of the film's spatial arrangement. In "The Hole", the relation between the apartment building and the city at large is essentially a relation of ban, a relation in which inclusion and exclusion, inside and outside have become indistinguishable. The extraordinary state or space the characters live in can be well elucidated in terms of Giorgio Agamben's notion of the "state of exception." The third section is an exploration of the weird, enigmatic characters in the film. Inspired by both N. Katherine Hayles's posthuman studies and Agamben's biopolitical theory, I argue how these characters are living in a kind of "bare life." In such a state, the distinction between humans and animals disappears. "The Hole", however, is far from being a desperate film. In the final section, therefore, I attempt to bestow this "bare life" a certain potential for redemption. I would read the song and dance numbers not as fantasy but as allegory of the danger and pleasure of our posthuman present. Right in the scenes of catastrophe, we seem to see hope and redemption. |