尋回父親分析鍾孟宏《陽光普照》中的分裂、內在客體與修復

Track Down the Father On the Splitting, Internal Object and Reparation in Chung Mong-Hong’s A Sun

在臺灣新電影之前的通俗／類型電影脈絡中，父親形象往往以健康寫實或類型化的方式被建構，成為鄉土倫理與父權道統的秩序象徵。軍教政宣電影中，父親形象更被推向陽具權威的巔峰。然而，進入新電影時期後，父親的象徵位置逐漸衰落且式微。對此，鍾孟宏的創作可被理解為在此斷裂之後，透過暴力與創傷來重新審視現代家庭與父子關係。從紀錄片《醫生》到《陽光普照》(A Sun)，他反覆觸及生／死之本能交纏下的情感經驗，某種愛與恨、攻擊與罪疚以及修復的可能，並在敘事上嘗試將父親重新安置回伊底帕斯結構之中。
本文旨在分析鍾孟宏《陽光普照》中家庭與父子關係的精神層面，並以客體關係理論為基礎，探討無意識與內在客體如何形塑角色間的關係。本文首先由佛洛伊德「我分裂」(splitting of the ego)概念切入，進而討論克萊恩(Melanie Klein)如何從客體分裂推展出內在客體的形成，並指向修復的可能。其次，本文結合費爾貝恩(W. R. D. Fairbairn)與溫尼考特(Donald Winnicott)對內在客體的不同解讀，深化對父子關係的閱讀。最後，本文援引羅華德(Hans Loewald)對伊底帕斯情結的觀點，重新思考鍾孟宏電影中「父親」與「家」的精神結構。

Father figures in Taiwanese cinema before the New Wave were typically constructed within the framework of healthy realism or categorized to symbolize Taiwanese nativism and the Law of the Father. In films centered on national identity and political legitimacy, father figures were further elevated to embody the peak of phallic authority. However, with the emergence of New Taiwanese Cinema, fathers gradually became sick and weak, and their presence diminished. Through a violent vision of the death drive, Chung Mong-Hong reexamines the modern family and father-son relationship. In Doctor, his documentary, Chung began exploring emotional experiences intertwined with the instinctual forces of death and life—love and hate, destruction and aggression—as well as the possibility of restoration. By the time of A Sun, it becomes evident that Chung repeatedly designs a loop of guilt and atonement in father-son relationships to achieve reconciliation, ultimately reinserting the lost father into the Oedipal structure.
This paper primarily focuses on the psychological aspects of the family and father-son relationship in Chung Mong-Hong’s A Sun. Drawing on object relations theory as its foundation, this study examines the role of the unconscious and internal objects in role relationships. Beginning with Sigmund Freud’s concept of the splitting of the ego and Melanie Klein’s theory on the development of internal objects from external ones leading to eventual reparation, this paper provides a deeper analysis of the father-son relationship through the perspectives of W. R. D. Fairbairn and Donald Winnicott. Finally, it concludes with Hans Loewald’s interpretation of the Oedipus complex to reconsider the psychological structure of the Oedipal father and family in Chung’s films.