English

上海大学学报(社会科学版) ›› 2018, Vol. 35 ›› Issue (1): 46-59.

• 影视理论研究 • 上一篇    下一篇

“只是当时已惘然”——对《色·戒》十年后的拉康主义重访

  

  1. 吴冠军（1976），男，江苏吴县人。华东师范大学政治学系教授、博士生导师。
  • 收稿日期:2016-12-16 出版日期:2018-01-15 发布日期:2018-01-15
  • 通讯作者: 吴冠军（1976），男，江苏吴县人。华东师范大学政治学系教授、博士生导师。

“Simply at a Loss Then”: Revisiting Lust, Caution Ten Years Later with Lacanian Psychoanalysis

  • Received:2016-12-16 Online:2018-01-15 Published:2018-01-15

摘要：

 李安的作品《色·戒》，给华语电影乃至剧院艺术本身都留下了一道浓重印迹：这部改编自张爱玲同名小说的电影，斩获威尼斯影展最佳影片金狮奖、台湾金马奖等七项大奖；并且因其在“色”上的铺张尺度，至今仍成为一个话题作品。从拉康主义精神分析角度出发，在十年后重访李安的《色·戒》，旨在指出李安用力至深并为之付出极大代价的那三段性场景，恰恰是该作品的“破坏性冗余”。

关键词: 《色·,  , 戒》｜李安｜张爱玲｜拉康｜女性性态

Abstract:

Lust, Caution directed by Ang Lee in 2007 left a strong mark in the history of Chinese cinema as well as cinematic arts per se. Adapted from Eileen Chang’s novel of the same name, the film won many titles including the Golden Lion Award at the Venice Film Festival and seven awards from the Golden Horse Awards in Taiwan. Even up to now it has remained a hot topic due to its exaggerated size in depicting “lust”. From the perspective of Lacanian psychoanalysis, the paper revisits Ang Lee's Lust, Caution ten years later,aiming to point out that the three grand sexual scenes that Ang Lee paid greatest attention to and a great price for as well, were nothing but“destructive redundancy”.
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