| 英文摘要 |
This article investigates motherhood portrayed in Chang Tso-chi's films and how it is introjected or re-appropriated in the characters' empathetic identification and emotional tussles with their mothers. It delves into Chang's Zui sheng meng si (Thanatos, Drunk, 2015) to unpack the way in which class difference and gender norms are negotiated in the male characters' sentimental attachment to their mothers. Invoking Freudian sadomasochism in family drama and the transformative affect of shame in Eve Kosofsky Sedgwick's reading of Sylvan Tomkins' theory, the article argues that Thanatos, Drunk delineates the contradictory social construct of motherhood and the children's re-inscription of their own otherness. The article argues that while the children's reflexive gaze at their mothers prompts the children's subject formation, Chang's film also visualizes a release from the essentialized position of motherhood for women. |
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