雷阿樸與羅茲瑪電影中的女性空間與漫遊觀視

Feminine Spaces and Flaneurial Looks in Léa Pool's and Patricia Rozema's Films

本文主張在雷阿樸與羅茲瑪的影片中，女性都市漫遊觀視是影片和角色用以批判社會和／或建構自我／藝術家主體的策略。兩位導演所處理的女性／藝術家角色多處於社會邊緣，但他／她們會經由多重的空間想像和實踐來拓展自我的空間。同時，他／她們在都市漫遊，時而捕捉都市建築和人群的浮光掠影，時而在想像中鳥瞰都市。而這些想像或實際的都市剪影就成為他／她們自我表達和批判社會的媒介。為了充分討論女性／藝術家的都市空間和都市漫遊觀視議題，本文討論兩位導演的數部影片。首先，女性／藝術家和資本社會的糾葛關係可以由以下兩部影片看出：《神魂失所》中攝影家皮耶深陷於資本主義對第三世界的控制觀視；《白屋之戀》中女歌手則受大眾文化偷窺所迫。但是這些女性／藝術家並不甘於受限；反之，《安‧特莉絲特》《聽美人魚唱歌》呈現了女性所建構的多元空間。更有甚者，她／他們走出侷限空間，身處或觀看都市街景。本文要分析的，正是《神魂失所》、〈回答我〉、《羈旅的女人》、《聽美人魚唱歌》和〈六種姿態〉種種不同的（女性）漫遊觀視。雷阿樸與羅茲瑪的女性漫遊觀視是破碎、即興的，目標常常是都市全景、眾生百態和由外觀看的建築物（architecture from　without）。藉由這種外觀的觀點以及不同的角度，她們得以批判父系社會的權威。除此相同點之外，兩位導演的立場是不同的：雷阿樸的主角獨立、逸離；羅茲瑪的角色（或攝影機）則多是好奇地欣賞、擁抱都市。

This paper argues that, in the films of Canadian feminist filmmakers, Léa Pool and Patricia Rozema, the female/artist's flaneurial looks become strategies the characters and/or the films use to critique social power structure and/or construct women's or artists' identities. Marginalized in their society, the two directors' female/artist characters expand their own limited space through multiple spatial imaginary and practices. At the same time, they are flaneuses wandering in the city to capture images of urban architecture and people, and, at times, bird-eye's views of their cities. The urban fragments of their artistic 'sights' and imaginary scenes, taken from the female/artists' specific 'sites,' thus become either a form of self-expression or social interaction and critique. Added to the characters' urban views, the film directors also use their flaneurial camera to either speak for the characters or make implicit comments on the power relations they are involved in. A number of the two directors' films are used to address these interrelated issues. In discussing the artists' involvement with society, two examples are used: the artist's involvement in imperialist and capitalist system in Pool's Pool's A corp perdue (or Straight for the Heart), and the female artists' and entrapment in a society of male gaze in Rozema's White Room. In response to their sense of constraint, the artist characters construct (imaginary or textual) multiple space out of their limited space, which is shown in Pool's Anne Trister and Rozema's I've Heard the Mermaids Singing. Pool's A corp perdue, 'Rispondedemi,' La Femme de l'hotel, and Rozema's Mermaids and 'Six Gestures' are then used to analyze the different types of identity constructions through flaneuriallooks. Addressing the issues of feminine space and feminist flâneurial looks, this paper positions itself m the intersection of two controversies in the discourses on the flâneur: those of gender in/difference and flâneur as artist or as consumer. Through my discussion of the two directors' films, I argue that urban views in their films as well as in contemporary society do have gender differences, and that the artist flâneuses, though not consumers, cannot separate themselves from their society.