新離散者的台灣新電影：趙德胤的《冰毒》與廖克發的《菠蘿蜜》

Neo Diasporas’ Taiwan New Wave: Midi Zhao’s Ice Poison and Kek-Huat Lau’s Buoluomi

趙德胤與廖克發，兩位分別來自緬甸及馬來西亞的台灣新生代導演，他們的電影呈現出強烈的台灣新電影風格。在台灣新電影運動四十年後的今天，是什麼原因促使他們在電影中依然展現濃厚的新電影色彩？而他們又如何將新電影的特色融入自身的作品中？本文對於兩位導演的討論主要是從「新電影的承繼」出發，基於廖克發的一番話提問：為什麼趙德胤與廖克發兩位來自於東南亞「異域」的華裔導演，能夠被視為新電影的新承繼者？林建光的「壓抑性復返」提供一個思考「承繼」的起點，而拉岡式的離散論述則進一步釐清新電影與趙德胤與廖克發的作品之間的承繼關係。延續這個討論，本文以趙德胤的《冰毒》（2014）與廖克發的《菠蘿蜜》（2019）兩部源自於他們離散經驗的電影為研究對象，並從電影各自的主要概念「等待」與「放逐」出發，檢視新電影手法如何被兩位導演使用以及產生何種新的意義，以揭露屬於他們的離散思考以及所延伸的新電影面貌。藉由兩部作品的分析，本文一方面得以對於新電影精神提供一種新的理解，一方面也能夠定調趙德胤與廖克發作為承繼者的台灣新電影：一種新「新離散者」的台灣新電影。

 

Midi Zhao and Kek-Huat Lau, two Taiwan new-generation directors from Myanmar and Malaysia respectively, present a strong style of Taiwan New Wave in their films. In what reason do they demonstrate such a style after the forty years of Taiwan New Wave? How do they incorporate the style into their works? The discussion concerning two directors’ films is based on the view of “the inheritance of Taiwan New Wave.” Firstly, the paper asks: why can Midi Zhao and Kek-Huat Lau, the two directors who are Chinese immigrants from Southeast Asia, be the inheritors of Taiwan New Wave? To answer the question, this paper takes Jiann-Guang Lin’s “the return of the repressed” as a thinking point, and employs Lacanian diaspora theory to explore the inherited relationship between Taiwan New Wave directors and the two new-generation directors, Zhao and Lau. Accordingly, two of their movies –Zhao’s Ice Posion (2014) and Lau’s Buoluomi (2019) – are selected as the subjects of the research to investigate how they inherit the Taiwan New Wave style. The two films are derived from the directors’ diasporic experiences, by which Zhao and Lau built up the themes of their films respectively, that is, waiting and exile. Around the themes, how the directors applied the techniques of TaiwanNew Wave in films and then what new meaning they produced will be examined in order to clarify the true face of their own “new wave” films. In this sense, the paper can bring a new perspective on Taiwan New Wave on the one hand, and conclude Zhao and Lau’s films as neoneo-diasporas’ Taiwan New Wave on the other.