人‧鬼‧同志：如何與無主孤魂做親屬？

Human, Ghost, LGBTQIA+: How to Make Kins with Ghosts without Ancestral Tablets?

本文將以兩個影像文本探討沒有子孫香火祭拜的「無主孤魂」，看其如何創造出「人－鬼－同志」之間建立親屬關係的可能與不可能。第一個影像文本是直男與男同志鬼「做親屬」的《關於我和鬼成為家人的那件事》，第二個影像文本則是女同志與老大公孤魂野鬼「做親屬」的《金寶螺胡撇仔》。前者處理「同志冥婚」的可能與不可能，後者想像「多於人」的多元成家方案，兩者都可說是某種當代「同志」遇見「無主孤魂」的冒險奇遇記。本文將透過這兩個影像文本的分析與比較，希冀凸顯並積極肯認為何台灣「同志」乃是當代華文文化父系祭祀－－繼嗣體系之中最顯著、最張狂、最具有顛覆力與創造力的「親屬麻煩」，以及為何必須通過與「麻煩」共處、共生、共創造的想像實驗與生命實踐，才得以親證在宗法正統、父權正治與異性戀正規之外「做親屬」與「做世界」的怪胎實踐。

The paper will take two films to explore the (im)possibility of establishing kinship relations with the“ghosts without ancestral tablets,”that is, ghosts having no descendants to offer rituals of sacrifice. The first film is Marry My Dead Body in which a straight man and a gay ghost get married; the second film is Golden Snail Opera in which lesbians meet the wandering ghosts in paddy fields. The former deals with the (im)possibility of“gay ghost marriage”; the latter imagines multiple family formations of human and“more-than-human.”Both can be said to embody a certain kind of contemporary adventurous encounter between LGBTQIA+ and“ghost without ancestral tablets.”Through the analysis and comparison of these two films, this paper hopes to highlight and actively affirm why Taiwan’s“LGBTQIA+”culture makes the most noticeable, outrageous, subversive and creative“kinship trouble”in the patrilineal system of worship and descendancy in contemporary Sinophone culture. Only through the imaginary experiment and life practice of staying, living and co-creating with“troubles”can the queer practice of“making kins”and“making worlds”outside the patriarchal and heteronormative clan become recognized and recognizable.