《海角七號》的烏托邦：轉化、追憶與共同體的想望

Cape No. 7 as Utopia: Transformation, Recollection, and the Building of an Ideal Community

2008年《海角七號》在票房上的成功，標誌了臺灣電影在新世紀的歷史轉折。至於成功的諸多原因，除了產業層面的分析，學者已經從電影語言、歷史懷舊、族群融合、在地性、全球性與殖民性的辯證等等角度切入。本文在此基礎上，借用佛洛伊德的創傷理論與敘事學中「相似」或「重複」的概念，檢視電影各個角色從個人理想的挫敗到實現，從愛戀對象的失落、轉移到失而復得的過程。其次，透過齊克果對「思鄉病」作為回溯與前瞻的雙向運動，本文分析電影中海角七號作為不曾存在的原鄉，不只懷想過去，還指向未來的臺灣作為生命共同體的想望。本文最後聚焦電影中的樂團作為國族隱喻與烏托邦想像，分析三首樂曲的內容與電影的拍攝手法，闡述建立共同體必須的主體互惠性與聆聽的技藝。

The commercial success of Cape No. 7 in 2008 marked a pivotal moment in the history of Taiwanese cinema in the new millennium. In addition to the aspects of industrial production and promotional strategies, scholars have explored the film’s triumph from a plethora of angles, including cinematic language, historical nostalgia, ethnic amalgamation, the dynamics of the local and global, and the legacy of Japanese colonialism. Building on this foundation, this article applies Sigmund Freud’s trauma theory and the concept of“resemblance”or“repetition”in narrative theory to scrutinize the personal aspirations, setbacks, and eventual success of each character, as well as the process of their retrieving lost love objects. Furthermore, by appropriating Søren Kierkegaard’s understanding of“homesickness”as a simultaneously backward and forward movement, this article examines the place of the address Cape No. 7 as an imaginary hometown where one reminisces about the past while also envisioning Taiwan’s future as an ideal community. Lastly, this article concentrates on the band as a symbol of national identity and utopian communalism, and by analyzing the three songs and their cinematic representation, explicates the essential reciprocality between subjects and skills of listening required to foster a sense of community.