航向蔡明亮的愛欲烏托邦：論《黑眼圈》及其他

Towards the Erotic Utopia of Tsai Ming-liang’s Film: On I Don’t Want to Sleep Alone and Others

蔡明亮的電影表達了生命的荒蕪孤寂，但道具的使用、空間的設計、情節的鋪展與結局，往往展現出奇異的幽默感。本文以《黑眼圈》及其他相關電影為例，援引馬庫司的「愛欲」理論，分析烏托邦想像與喜劇視境。首先，《黑眼圈》中的空間區隔提供親密關係的必要條件、流動的公共空間成為人與人邂逅的場域、日常物件從使用與交換價值中解放，開展出充滿可能性的喜劇世界。其次，電影主題包括性慾與情慾、照顧與被照顧、成家的渴望，都是愛欲的展現，試圖否定現代都市的荒蕪。最後，電影中運用的流行歌曲，內容多半是對愛情的渴求，正是體現烏托邦的典型形式。在完全異化的資本主義社會裡，蔡明亮的電影以二次異化來回應，因此得以否定、批判，並超越單向度的現實。透過蔡明亮電影與馬庫司哲學的對話，本文一方面援用理論照亮文本的複雜與幽微之處，一方面也讓文本落實抽象且晦澀的哲學美學。

The film of Tsai Ming-liang represents the bleak landscape of urban life, but his use of props, the design of space and the unfolding of plot and its seemingly “happy ending” all contribute to a sense of humor that intrigues and amazes the audience. Employing Herbert Marcuse’s theory of Eros and utopia, this article intends to analyze Tsai’s I Don’t Want to Sleep Alone and other related films, explicating their erotic utopia and comic vision. First, I Don’t Want to Sleep Alone creates a comic world where the segmentation of space entails intimate relationships, the public space enables chance encounters, and the objects, liberated from their regular functions, designate alternative possibilities. Second, the film is themed on the sexual and emotional desires, the need of care, and the longing for a place of one’s own. These themes, along with the use of popular songs that speak of love, are the implicit manifestation of Eros and serve to negate the waste land of capitalism. In an advanced capitalist society where alienation is total and complete, Tsai responds with a secondary, artistic alienation, and thus his work of art enables the negation and refute of the established order as well as the transcendence of the one-dimensional society. Putting Tsai Ming-liang into dialogue with Marcuse, this article hopes to illuminate the complexity and nuances of the text while at the same time concretizing the abstract and obscure philosophical aesthetics.