無處歸屬：蔡揚名黑幫三部曲中的父子關係與社會反思

Nowhere to Belong: The Father and Son Relationship and Social Critique in Tsai Yang-ming’s Gangster Trilogy

一九八○年代臺灣社會及電影工業皆面臨巨大改變，儘管在這般動盪的環境下，一九八○年代末期仍有一波成功的本土黑幫片出現。本文耙梳一九八○年代末期到一九九○年代初期臺灣黑幫片的發展，聚焦在蔡揚名（歐陽俊）於此時期所拍攝的黑幫三部曲：《大頭仔》(1988)、《兄弟珍重》(1990)、和《阿呆》(1992)，透過分析片中黑幫主角的父子情誼和家庭關係，探討蔡揚名片中喪失歸屬感的男性幫派份子背後所反映出的社會集體潛意識，以及此時期臺灣黑幫片的特殊性與文化意義。蔡揚名的黑幫三部曲在角色建構與敘事上的轉變同時揭露出他對解嚴後臺灣社會的觀察與批判，其中，《阿呆》更進一步藉由家庭主題討論解嚴後外省人對臺灣的矛盾情感以及資本主義現代性對傳統價值的打擊。在類型包裝下，蔡揚名的黑幫三部曲及其他一九八○年代末期到一九九○年代初期的臺灣黑幫片回應了當時臺灣社會在快速發展下產生的認同困境，並以挫敗的黑幫份子形象為後起的黑幫片開啟新的面向。

"The society and the film industry of Taiwan underwent great transformation in the 1980s. At a challenging time like this, several important gangster films were still being made by local filmmakers during the late 1980s. This paper investigates the development of Taiwan’s gangster films from the late 1980s to the early 1990s, with a specific focus on the gangster trilogy by Tsai Yang-ming (Ouyang Chun): Gangland Odyssey (1990), Fraternity (1990), and Joe-Goody (1992). By analyzing the theme of family, particularly the father and son relationship, in Tsai Yang-ming’s gangster films, this paper explores the collective unconscious behind the male gangster’s loss of sense of belonging, and the cultural significance of Taiwan gangster films during this period. This paper argues that Tsai Yang-ming’s gangster trilogy also reveals the director’s view on post-martial law Taiwanese society, and his critique is the most obvious in the last of the gangster trilogy, Joe-Goody. The film further elaborates the impact of capitalist modernity and the society’s struggle over national and cultural identity during the post-martial law period. With the frustrated and lost gangster figure, Tsai Yang-ming sets the foundation for later gangster-themed films in Taiwan."