享樂與現(xiàn)實(shí)之間李小龍功夫電影中的幻想(英文論文)

1、 畢業(yè)論文Between Pleasure and Reality: Fantasy/Phantasy in Bruce Lees Kung Fu Movies享樂與現(xiàn)實(shí)之間：小龍功夫電影中的幻想108 / 119AbstractThis thesis aims to deal with Bruce Lees kung fu movies with regard to the fantasy/phantasy expressed in it. In this thesis, the conventionally emphasized movie scenarios will be less d

2、iscussed, instead, attention will be paid to the essential element of this type of movie, that is, Bruce Lees kung fu, Jeet Kune Do. I would examine how Bruce Lees kung fu movies, his performing art (JKD), and his cinematic image are connected to the psychoanalytic concept of fantasy/phantasy.In the

3、 first chapter, I would start by drawing on the theoretic concept of fantasy/phantasy elaborated by two antithetic schools, one represented by Jean Laplanche and J.B. Pontalis, and the other by Susan Isaacs and Hanna Segal. I will demonstrate what each sects theoretical contention has to contribute

4、to our understanding of kung fu as a type of fantasy/phantasy. My argument in this part is that kung fu, the performing art acted out by Bruce Lee, stands for another embedded fantasy/phantasy within the cinematic fantasy/phantasy. In the second chapter, I will go on to introduce Bruce Lees personal

5、 philosophical annotation on his artistic creation, JKD. His annotation or we could call it doctrine provides enlightening perspective for us to better understand the content of fantasy/phantasy revealed through these bodily movements. It turns out that its hidden content is closely related to the f

6、ormation of the ego, the ego of the artist (Bruce Lee) and the ego of the spectators. Therefore the theory of the vision developed in Kaja Silvermans The Threshold of the Visible World would be very helpful for our purpose of clarifying how proprioception and the mechanism of gaze are interwoven. My

7、 argument here is that in creating and performing JKD movements, that is, when immersed in his JKD fantasy/phantasy, Bruce Lee (as he claimed) has attained/ felt a triumphal proprioceptive ego which is free from culture markings. However, I would also say that this triumphal proprioceptive ego remai

8、ns constrained under the spectators gaze which is the ultimately factor that determines the contour of his image. The gaze pins him up as another ideal image which is not free from cultural markings but distorts stereotypical cultural markings. Both JKD the performing art and spectatorial gaze indic

9、ate two different fantastic/phantastic wishes. In the third chapter, I would continue with the issue of ego formation and try to connect the relationship among idealization, identification and fantasy/phantasy that is experienced by Lees audience. Again, Kaja Silvermans The Threshold of the Visible

10、World will be the main theoretical source I resort to. My argument on this part is that Lees audience identify both heteropathicly and idiopathicly: heteropath because succumbed to the bodily ideality of Lee, idiopathic because the accessibility to learning JKD. Therefore I would say that JKD is mor

11、e than an expression of fantasy/phantasy but also an effort to attain that fantasy/phantasy. It is, as Hanna Segal has expounded, an artistic work that connects to the objective reality. However, such an effort remains futile for it still restrains the one who identifies through it (idiopathic ident

12、ification) distant from the world of symbolic. At the end of this chapter, therefore, I would present Stephen Chows comedies whose funny language (jokes) replaces JKD for audience to cling to and thereby get closer to the world of objects.Key Words: fantasy (phantasy), Bruce Lee, Jeet Kune Do, ego,

13、image, gaze, idealization, identification摘要本篇論文處理的主題是武打明星小龍的功夫片當(dāng)中的幻想議題。文章討論的重點(diǎn)選擇著於重功夫片最重要的元素，也就是小龍的功夫-截拳道。我將會探討小龍的功夫電影、他所創(chuàng)造的表演藝術(shù)，以與他在電影中的理想形象，是如何地和心理分析中幻想此一概念相互交織的關(guān)係。首先在第一章中，我將會援引心理分析法國學(xué)派-尚拉普朗虛(Jean Laplanche)以與尚-柏騰大歷斯(J.B. Pontalis)為代表-以與英倫學(xué)派-蘇珊艾薩克斯(Susan Isaacs)以與漢娜西格爾(Hanna Segal)-對於幻想此一概念的理論發(fā)展，以

14、幫助理解功夫何以作為一種幻想的表現(xiàn)。因此我在本章當(dāng)中的主要論點(diǎn)為，在電影幻想之下存在著另一種形式的幻想，也就是小龍所創(chuàng)造出來的功夫幻想。在第二章中，我將接著介紹小龍個(gè)人對於他的創(chuàng)作，也就是截拳道，所提出來的哲學(xué)性注釋，或者可以說是截拳道教義。透過他對於截拳道的詮釋，我們能更進(jìn)一步窺視功夫幻想的可能內(nèi)涵為何。經(jīng)由觀察發(fā)現(xiàn)，隱藏在功夫幻想中的內(nèi)容是與自我(創(chuàng)作者的自我以與觀眾的自我)形成的過程緊密相關(guān)。因此，卡佳絲爾薇曼(Kaja Silverman)在The Threshold of the Visible World 一書當(dāng)中所提出的視覺理論，可以幫助我們釐清此處關(guān)於身體內(nèi)在固有感受以與凝視作

15、用如何交織影響自我的形成。我在本章的論點(diǎn)是：當(dāng)小龍沉浸在截拳道的幻想時(shí)，他感受到一種超越文化印記的自我。然而，這種截拳道所帶來的內(nèi)在固有感受所形成的自我卻仍受限於觀眾的凝視。觀眾的凝視成就了小龍的另一種自我-一種扭曲重寫文化刻版印象的自我。截拳道以與觀眾的凝視透露出兩種不同的幻想願(yuàn)望。在第三章中，我會接續(xù)第二章裡自我形成的討論，並試著連結(jié)觀眾所經(jīng)驗(yàn)到的理想化、認(rèn)同、以與幻想三個(gè)重要概念。同樣地，卡佳絲爾薇曼的著作將會是本章的理論依據(jù)。我在此章的論點(diǎn)是：小龍功夫電影的觀眾產(chǎn)生的認(rèn)同既是異種認(rèn)同也是原發(fā)認(rèn)同。因?yàn)橛^眾認(rèn)同了電影中理想化的形象，同時(shí)，也因?yàn)榻厝赖目捎|與性，產(chǎn)生了原發(fā)性的認(rèn)同。因此，

16、我主張截拳道不僅僅表達(dá)了幻想，更代表一種為了達(dá)成幻想願(yuàn)望所做的試探或努力。正如漢娜西格爾對於藝術(shù)創(chuàng)作的闡釋，截拳道同樣搭起了與客觀現(xiàn)實(shí)之間的連結(jié)。然而這樣的試探，似乎無法將主體引進(jìn)真正的對象關(guān)係的世界裡。所以在本章的末尾，我將呈現(xiàn)周星馳的喜劇電影，並探討電影中的詼諧對話如何取代了功夫元素，讓觀眾藉之進(jìn)入客觀現(xiàn)實(shí)世界。關(guān)鍵詞：幻想、小龍、截拳道、影像、凝視、自我、理想化、認(rèn)同AcknowledgementUndoubtedly, the completion of this thesis will not be possible without the guidance of my advise

17、r, Dr. Yi Peng. Thanks to his tremendous patience with me and his expertise in the field of psychoanalysis which enlightens me greatly. During the three years of schooling, I have taken several courses provided by Dr. Yi and each of the courses consolidated my interest and knowledge in this theoreti

18、cal field. These detailed discussions and lectures helped cultivated my logic thinking ability which certainly is essential when composing my thesis. All in all, what I want to say here is that I think the process of Dr. Yis advising has taken place long before the day that I started writing the the

19、sis. His influence on me has always been there since the very day I enter this department and will continue to exist imperceptibly in the future whenever I think logically. Therefore I must again attribute my greatest thanks to Dr. Yi for his help with the thesis and his influence on me as a person.

20、 During the three years, there are several other professors that inspire me profoundly: Prof. Lin (Spencer), Daniel Fred, Amy, Joe, Stewart and Prof. Hsiung all taught me a lot and its a great pleasure to attend their courses. In addition, Prof. Zhaung from NCTU has also given me valuable suggestion

21、s on my thesis. I would also like to thank a very good friend, Rebecca Chen. During the three years, we have taken many courses together and she has been a very supportive classmate that I have. Rebecca is always willing to share her points of views and always cares for my progress on the thesis. Wi

22、thout Rebeccas help, the application form for the oral examination would be delayed and without Rebeccas emotional support, the whole writing process would be unbearable. Another special friend is also very supportive during this period, that is, Steve Chen. He has helped me with various problems pe

23、rtaining to computer operations (computer is a great help but also causes troubles too). In addition, he tolerates my unstable temper whenever I encounter difficulties in writing. He is always showing an encouraging attitude toward me and tells me to stick to it. Im so lucky to have this companion.F

24、inally, a special thank should be given to my parents. Although the time is much longer than he expected, my father has never pressed any pressure on me. Indeed, he may sometimes question whether I can finish the thesis (“能不能畢業(yè)啊你?”), but I know he is just showing his care for me. As to my mom, she o

25、ften encourages me with “bribery.” A new cell-phone is the prize for the completion of the thesis. I have to say both thanks and sorry to them because I have been their economical burden for such a long time. Hopefully, with the completion of the thesis, I can contribute back to them.ContentAbstract

26、iAcknowledgementviList of FiguresviiiIntroduction1Chapter One: Fantasy and Phantasy12Chapter Two: The Tao and Image of Bruce Lee37Chapter Three: Adaptation55Conclusion: Its always in Between.79Works Cited82List of FiguresFig 1. Bruce Lees personal sketches of his kung fu choreography.5Fig. 2. System

27、atic guidebooks on JKD.9Fig. 3. Adaptations of Bruce Lees yellow bodysuit.10IntroductionIn 1970s, the martial-arts genre “The force and popularity of kung fu films in the US during 1973-75 would lead to a genre we might call martial arts” (Morris 175). , pioneered by THE undying star Bruce Lee, aros

28、e, arousing a tremendous kung fu craze in the movie industry. Hollywood, being the main center of film production, also started importing these poorly dubbed films and later co-opted them, and as the box office showed, they were a great success (Desser, “The Kung Fu Craze” 20). Martial-arts genre ha

29、s then continued enjoying its popularity till nowadays, though with variations to its contours (Desser, “The Martial Arts Film in 1990s” 78) David Desser categorizes for us 5 variational types of martial-arts films: the “arena” subgenre, the “l(fā)aw-enforcement” subgenre, the “juvenile adventure fantas

30、y”, the “video/cartoon fantasy”, and the “sci-fi” subgenre. (“The Martial Arts Film in 1990s” 78). It is unquestionable that one cannot discuss martial-arts films without invoking its inspirer, its Muse-Bruce Lee. Acknowledging his (its) cultural and social significance, many scholars have spent tre

31、mendous effort in exploring Bruce Lees kung fu movie. With a survey of related essays, we can discover that what these scholars concern most is the connection to ethnical/racial and class politics. For example, Vijay Prashad sees in Bruce Lees kung fu world the possibility of poly-culturalism (inste

32、ad of multiculturalism Prashad quoting the concept from the philosopher, Slavoj iek, distinguishes multiculturalism as “racism with a distance” (54). ) (54) which “accepts the differences in cultural practice”. Siu Leung Li, though seems more skeptical toward the “optimistic twist” of Bruce Lees fil

33、ms, still centers his concern to the issue of nationalism (536). However, few looks directly at the realm of Bruce Lees philosophical annotation of kung fu and of kung fu per se. Joel Stein, the columnist of Time, has once mockingly commented on Bruce Lees three released movies in America: “one of w

34、hich was unwatchably bad, the other two of which were watchably bad”-the plot of kung fu movies is simply monotonous, uninteresting and predictable (119). Such banality may indeed constitute as one factor that caters to its audiences David Desser claims the martial-arts genre appeals mostly to youth

35、 audience or sub-cultural groups, such as “white working-class” and “black urban and rurual audiences” (“The Kung Fu Craze” 38). (Desser, “The Kung Fu Craze” 38) wish of beating up the villains, the oppressors, but, on the other hand, just as Stein has explicitly implied that the real fascinating el

36、ement in Bruce Lees movie is, undeniably, his kung fu. Therefore, this paper aims to study forthright the characteristics/nature of Bruce Lees kung fu in relation to audience reception and viewer adaptation. In other words, Bruce Lees kung fu, or as he has named it, Jeet Kune Do Abbreviated as JKD i

37、n this thesis. , including its didactic philosophy, its aesthetics, and its performance, will be the subject matter of this thesis and investigation will be pursued to answer why and how the legend of Bruce Lee and his kung fu never dies, which I assume concerns the theory of spectatorship and of vi

38、sion. In this paper, there will be three chapters dealing with the subject of Bruce Lees kung fu: “Phantasy & Fantasy”, “The Tao and Image of Bruce Lee”, and “Adaptation.” In the first chapter I will talk about Bruce Lees kung fu as a fantasy/phantasy. Film is known to be “a particular site of t

39、he representation of fantasy” (Cowie 149), and the martial-arts film is no exception, especially Bruce Lees kung fu movie. Therefore, to begin with, I would like to demonstrate how in addition to the movies Bruce Lees kung fu choreography (THE essential element in martial-arts film) is itself anothe

40、r fantasy/ phantasy Both terms are used in this thesis because the combination of both theories helps to give a better conceptualization of fantasy/ phantasy. , or an embodiment of a fantasy/phantasy, or a type of fantastic/ phantastic art. Elizabeth Cowie has put it correctly, that “the opposition

41、real/ not real is wholly inappropriate to a consideration of fantasy” (149). Likewise, Gerald Eager in his “The Fantastic in Art” presents us the two distinct frames of reference by A. H. Barr and Kenneth Clark in their discussion of fantastic art-Barrs centering on “the irrational unreality of the

42、images”, and Clarks on “the expressionistic restlessness of the forms”-and deems that each only represents a partial truth (151). Thus, in our inquiry of the characteristics of kung fu fantasy/phantasy, though its relation to objective reality is equally important, we should avoid endeavoring to com

43、e up with a moral lesson Robert Crossley in his essay, “Education and Fantasy”, has pointed out that “the art of fantasy is imperiled by rational discourse and critical questioning” (282). from kung fu fantasy/phantasy, and make a judgment accordingly. Instead, I intend to show how the fantastic/pha

44、ntastic art of kung fu is always in-between real and not real, delusional pleasure and harsh reality. It is both an indulgence which the traditional Marxist may strongly oppose, and an energy which makes a difference.There always exists a triangle in every art of fantasy: “the making of the work”, “

45、its reception”, and “the work itself” (Eager 152). When we examine Bruce Lees kung fu, his martial “arts”, each of the three dimensions should all be taken into consideration, especially the one mostly ignored, its process. In regard to this creative process, Erich Neumann has tagged it with the con

46、cept “waking sleep”, seeing in the artist “a special animation of the unconscious and an equally strong emphasis on the ego and its development” (180). And Bruce Lees notes on his JKD philosophy, his schedule of body-training program and his drawings of fighting choreography See figure 1. all bear w

47、itness to this “interplay between creation and criticism, manifested in the painters alternation of working on the canvas and stepping back to observe the effect” (qtd. in Eager, 153). The process of making fantasy/ phantasy is in-between the tension of the conscious and the unconscious and between

48、the past and the present. How Bruce Lees JKD is unconsciously initiated and at the same time, consciously forged, would illuminate our understanding of the functioning of kung fu fantasy/phantasy. Here, Susan Isaacs, Hanna Segal and Jean Laplanche and J. B. Pontalis in their study of phantasy/fantas

49、y Here I arrange the two terms in a different order (“phantasy/ fantasy” instead of “fantasy/ phantasy”) in consistent with Susan Issacs preference of the term “phantasy. provide enlightening frameworks for further insight into Bruce Lees JKD. Susan Isaacs, following Melanie Klein, parallels childre

50、ns play with the formation of a phantasy and also with the creation of art, while Laplanche and Pontalis characterize fantasy as “a veritable mise-en-scene of desire”-the two viewpoints together complement our intension in depicting the two corners of the art triangle (Cowie 159)Fig 1. Bruce Lees pe

51、rsonal sketches of his kung fu choreography.In the second chapter of the thesis, I would proceed to deal with the relationships between kung fu fantasy/phantasy and the problem of idealization which has its affinity with identification. According to Cowie, “the word fantasy derives through Latin fro

52、m the Greek term meaning to make visible” (154). “Fantasy as a term has come to mean the making visible, present, of what isnt there, of what can never directly be seen” Surrealist paintings attest exactly to this characterization here. For example Hieronymus Boschs Scenes of Hell.(154). In other wo

53、rds, images occupy THE central position in fantasy/ phantasy; to fantasize/ phantasize is to see. So far as kung fu fantasy/ phantasy is concerned, the spectacle image of Bruce Lee in performing his JKD makes visible a certain mystic desire. And if as Laplanche and Pontalis has contended that “fanta

54、sy is not the object of desire, but its setting”, the JKD moves, and the image and body of Bruce Lee signify another setting within the film which is itself a fantasy/phantasy setting too (qtd. in Doane, 252). What then would be the object of desire or the need here? I assume that the key to unlock

55、the content of this fantasy/phantasy is the concept of idealization and identification. Kaja Silverman in her work, The Threshold of the Visible World, has expounded the complex operation of the visual in terms of an individual ego. Her illustration would shed light on our investigation of kung fu f

56、antasy/ phantasy as a setting. To roughly sum up here, chapter two deals with the third corner of the art triangle, its reception, its witness pertaining to the theory of the vision.Also, a reconnaissance of Bruce Lees own philosophical elucidation on his JKD will facilitate our inquiry in the secon

57、d chapter, because it, too, represents the witness, the witness of the creators own fantasy/phantasy on himself. “Jeet kune do is the awareness of pure being (beyond subject and object), an immediate grasp of being in its thusness and suchness (not particularized reality)” (Lee, Bruce Lees Commentar

58、ies 65). There are numerous such annotations from Bruce Lee (he constantly takes notes); another famous one goes like this: “Empty your cup so that it may be filled; become devoid to gain totality” (“Jeet Kune Do: Toward Personal Liberation.” 143). Bruce Lee apparently has his own ideal idealization of JKD and of himself. The didactic guidance, or as I would rather call it, his “comment”, of his kung fu skills/art delineates the perfect and flawless mirror image of kung fu fantasy/ phantasy. How this image corresponds to the audiences process of idealization is wo