女同志情慾與香港寓言：《蝴蝶》電影中的女同志主體與家國想像

Lesbian Desire and Hong Kong Allegories: Lesbian Identity and National Imaginaries in Butterfly (2004)

本文探討麥婉欣所導演的女同志電影《蝴蝶》如何改編台灣酷兒作家陳雪的小說〈蝴蝶的記號〉，將之重構為一則香港的女同志家國寓言。文中指出《蝴蝶》透過以下五種手法，將電影打造為充滿本土性和批判性的香港寓言及澳門傳奇：（1）中國古典詞曲的酷兒化；（2）對於中國早期女性電影的致敬與轉化；（3）刻意強調香港的政治與社會運動，並對中國政權進行批判；（4）重建女同志認同與港人主體；（5）對澳門想像的烏托邦色彩。
本文認為《蝴蝶》電影透過重大歷史事件的再現（如六四天安門事件、香港學運等），將陳雪小說中以第一人稱為主的抒情敘事與愛情故事，轉化為香港殖民地寓言；以時空具體化∕香港化的方式，將原著中一個時空背景模糊且無涉國族的女同志愛情與家庭故事，轉譯為香港殖民地故事，同時也美化了澳門成為身心逃逸∕寄託之所在；以國族認同的焦慮，置換了性別認同的猶疑。片中藉由已婚女主角今昔的兩段女同志情誼、記憶，以及相關人物的出身、背景，在層層轉譯中，形塑了兩岸四地（台、港、中、澳）的關係性隱喻。電影在性別與情慾課題之上，開展了華語同志電影的歷史縱深，以及地緣政治和國族寓言關係的探討，彰顯女同志與香港認同的主體性與家國想像。

This study explores how Hong Kong director, Yan Yan Mak’s 2004 film, Butterfly, adapts Taiwanese author, Chen Xue’s novella,“Sign of the Butterfly”into a critical allegory of Hong Kong and Macau. The film, deeply rooted in local culture and critical insights, employs five techniques of allegorization: (1) queering classical Chinese poetry; (2) referencing and adapting aspects of early Chinese women’s films; (3) emphasizing Hong Kong’s political and social movements and directly criticizing the PRC government; (4) reconstructing lesbian identity and Hongkongers’subjectivity; (5) painting Utopian imaginings of Macau. This study also discusses how the film’s depiction of historical events, including Tiananmen Incident and the Hong Kong student movement, concretizes and localizes the original novel’s vague spatiotemporal setting. This transformation turns Chen Xue’s sentimental, first-person narrative into an allegory of Hong Kong’s colonial history, shifting the focus from anxieties about gender identity to those of national identity. The film revolves around a married woman, Butterfly, and her memories of past and present lesbian love affairs. Through multiple layers of translation and adaptation, the film develops a complex allegorical and metaphorical framework through which the implicational relationships between Taiwan, Hong Kong, China, and Macau can be viewed. In addition to the themes of gender and desire commonly represented in queer cinemas, the film Butterfly also opens up new possibilities in terms of geopolitics and national allegories, constructing the identities of lesbians and Hongkongers Ultimately, revisiting Butterfly is believed to contribute to the development of Queer Sinophone alliances, and to introduce a new approach to lesbian research.