去自然化（男）人主體：李滄東電影《燃燒烈愛》對父權與人類中心主義的反敘事

Abstract

在《燃燒烈愛》當中，男主角發現女主角消失的時間點正好和一個他未曾尋獲的塑膠棚被燒毀的時間相近。導演李滄東以這個巧合來製造化解不開的謎。 整部電影的故事線雖然主要隨著男主角的視角發展，卻也因女主角的消失和塑膠棚的不知去向而保留了模稜兩可之處。 這篇論文聚焦這個故事的模糊性，藉以爬梳其反父權與反人類中心的潛在可能性。論文由緒論和三個章節組成。 在緒論當中，我勾勒出論文的大致架構，並且解釋以下現象：透過不同的理論架構觀看電影故事模稜兩可之處，更能凸顯出其詮釋的多樣性。在第一章當中，我以精神分析的角度分析主角的男性主體性，並點出男主角的視角可能具有的偏頗之處。在第二章當中，我聚焦在女主角的消失，並凸顯其中除了她被謀殺之外的其他詮釋也都可能同時成立的多元詮釋並立狀態。此外，我也闡釋女主角的消失對女性跳脫「不是母親，便是娼妓」的二元對立呈現之束縛而追尋自由與自主的可能性。 在第三章當中，我透過分析電影中的那個未被尋獲的塑膠棚難以察覺的狀況檢視這部電影作為反人類中心論述潛能。 最後，我梳理出電影中似乎從非人類的角度拍攝的鏡頭，以支持這部電影的反人類中心可能性，並總結這篇論文。In Burning, Director Lee Chang-dong creates unresolved mysteries with the coincidence of a missing woman and an undiscovered plastic greenhouse. The film follows the domineering perspective of a male protagonist but does not limit itself to it. This thesis focuses on the film's ambiguity and teases out the anti-patriarchal and anti-anthropocentric possibilities of the film. This thesis is composed of an introduction and three chapters. In the introduction, I provide the general structure and explicate how the film's ambiguity enables multiple interpretations when seen from different theoretical perspectives. In Chapter One, I analyze the protagonist's male subjectivity from a psychoanalytical perspective so as to tease out the possibly biased interpretationhis perspective gestures towards. In Chapter Two, I investigate the multiplicity of interpretations of the film's mystery of the vanished woman and elaborate on how the woman's disappearance can signify the possibility of women's liberation from the mother-whore dichotomy. In Chapter Three, I examine the anti-anthropocentric potential of the film by focusing on the irreducible invisibility of the undiscovered greenhouse. To conclude, I elaborate on the film's anti-anthropocentric potential by combing out the shots which seem to be shot from a nonhuman perspective.