享樂與現(xiàn)實(shí)之間：李小龍功夫電影中的幻想(英文)

PAGE畢業(yè)論文BetweenPleasureandReality:Fantasy/PhantasyinBruceLee’sKungFuMovies享樂與現(xiàn)實(shí)之間：李小龍功夫電影中的幻想AbstractThisthesisaimstodealwithBruceLee’skungfumovieswithregardtothefantasy/phantasyexpressedinit.Inthisthesis,theconventionallyemphasizedmoviescenarioswillbelessdiscussed,instead,attentionwillbepaidtotheessentialelementofthistypeofmovie,thatis,BruceLee’skungfu,JeetKuneDo.IwouldexaminehowBruceLee’skungfumovies,hisperformingart(JKD),andhiscinematicimageareconnectedtothepsychoanalyticconceptoffantasy/phantasy.Inthefirstchapter,Iwouldstartbydrawingonthetheoreticconceptoffantasy/phantasyelaboratedbytwoantitheticschools,onerepresentedbyJeanLaplancheandJ.B.Pontalis,andtheotherbySusanIsaacsandHannaSegal.Iwilldemonstratewhateachsect’stheoreticalcontentionhastocontributetoourunderstandingofkungfuasatypeoffantasy/phantasy.Myargumentinthispartisthatkungfu,theperformingartactedoutbyBruceLee,standsforanotherembeddedfantasy/phantasywithinthecinematicfantasy/phantasy.Inthesecondchapter,IwillgoontointroduceBruceLee’spersonalphilosophicalannotationonhisartisticcreation,JKD.Hisannotationorwecouldcallitdoctrineprovidesenlighteningperspectiveforustobetterunderstandthecontentoffantasy/phantasyrevealedthroughthesebodilymovements.Itturnsoutthatitshiddencontentiscloselyrelatedtotheformationoftheego,theegooftheartist(BruceLee)andtheegoofthespectators.ThereforethetheoryofthevisiondevelopedinKajaSilverman’sTheThresholdoftheVisibleWorldwouldbeveryhelpfulforourpurposeofclarifyinghowproprioceptionandthemechanismofgazeareinterwoven.MyargumenthereisthatincreatingandperformingJKDmovements,thatis,whenimmersedinhisJKDfantasy/phantasy,BruceLee(asheclaimed)hasattained/feltatriumphalproprioceptiveegowhichisfreefromculturemarkings.However,Iwouldalsosaythatthistriumphalproprioceptiveegoremainsconstrainedunderthespectator’sgazewhichistheultimatelyfactorthatdeterminesthecontourofhisimage.Thegazepinshimupasanotheridealimagewhichisnotfreefromculturalmarkingsbutdistortsstereotypicalculturalmarkings.BothJKDtheperformingartandspectatorialgazeindicatetwodifferentfantastic/phantasticwishes.Inthethirdchapter,Iwouldcontinuewiththeissueofegoformationandtrytoconnecttherelationshipamongidealization,identificationandfantasy/phantasythatisexperiencedbyLee’saudience.Again,KajaSilverman’sTheThresholdoftheVisibleWorldwillbethemaintheoreticalsourceIresortto.MyargumentonthispartisthatLee’saudienceidentifybothheteropathiclyandidiopathicly:heteropathbecausesuccumbedtothebodilyidealityofLee,idiopathicbecausetheaccessibilitytolearningJKD.ThereforeIwouldsaythatJKDismorethananexpressionoffantasy/phantasybutalsoanefforttoattainthatfantasy/phantasy.Itis,asHannaSegalhasexpounded,anartisticworkthatconnectstotheobjectivereality.However,suchaneffortremainsfutileforitstillrestrainstheonewhoidentifiesthroughit(idiopathicidentification)distantfromtheworldofsymbolic.Attheendofthischapter,therefore,IwouldpresentStephenChow’scomedieswhosefunnylanguage(jokes)replacesJKDforaudiencetoclingtoandtherebygetclosertotheworldofobjects.KeyWords:fantasy(phantasy),BruceLee,JeetKuneDo,ego,image,gaze,idealization,identification

摘要本篇論文處理的主題是武打明星李小龍的功夫片當(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，也就是李小龍的「功夫」--截拳道。我將會探討李小龍的功夫電影、他所創(chuàng)造的表演藝術(shù)，以及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(JeanLaplanche)以及尚-柏騰?彭大歷斯(J.B.Pontalis)為代表--以及英倫學(xué)派--蘇珊?艾薩克斯(SusanIsaacs)以及漢娜?西格爾(HannaSegal)--對於幻想此一概念的理論發(fā)展，以幫助理解「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，也就是李小龍所創(chuàng)造出來的功夫幻想。在第二章中，我將接著介紹李小龍個人對於他的創(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)作者的自我以及觀眾的自我)形成的過程緊密相關(guān)。因此，卡佳?絲爾薇曼(KajaSilverman)在TheThresholdoftheVisibleWorld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)在固有感受以及凝視作用如何交織影響自我的形成。我在本章的論點(diǎn)是：當(dāng)李小龍沉浸在截拳道的幻想時，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。觀眾的凝視成就了李小龍的另一種自我--一種扭曲重寫文化刻版印象的自我。截拳道以及觀眾的凝視透露出兩種不同的幻想願望。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」、以及「幻想」三個重要概念。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：李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，也因?yàn)榻厝赖目捎|及性，產(chǎn)生了原發(fā)性的認(rèn)同。因此，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、李小龍、截拳道、影像、凝視、自我、理想化、認(rèn)同

AcknowledgementUndoubtedly,thecompletionofthisthesiswillnotbepossiblewithouttheguidanceofmyadviser,Dr.YiPeng.Thankstohistremendouspatiencewithmeandhisexpertiseinthefieldofpsychoanalysiswhichenlightensmegreatly.Duringthethreeyearsofschooling,IhavetakenseveralcoursesprovidedbyDr.Yiandeachofthecoursesconsolidatedmyinterestandknowledgeinthistheoreticalfield.Thesedetaileddiscussionsandlectureshelpedcultivatedmylogicthinkingabilitywhichcertainlyisessentialwhencomposingmythesis.Allinall,whatIwanttosayhereisthatIthinktheprocessofDr.Yi’sadvisinghastakenplacelongbeforethedaythatIstartedwritingthethesis.HisinfluenceonmehasalwaysbeentheresincetheverydayIenterthisdepartmentandwillcontinuetoexistimperceptiblyinthefuturewheneverIthinklogically.ThereforeImustagainattributemygreatestthankstoDr.Yiforhishelpwiththethesisandhisinfluenceonmeasaperson.Duringthethreeyears,thereareseveralotherprofessorsthatinspiremeprofoundly:Prof.Lin(Spencer),DanielFred,Amy,Joe,StewartandProf.Hsiungalltaughtmealotandit’sagreatpleasuretoattendtheircourses.Inaddition,Prof.ZhaungfromNCTUhasalsogivenmevaluablesuggestionsonmythesis.Iwouldalsoliketothankaverygoodfriend,RebeccaChen.Duringthethreeyears,wehavetakenmanycoursestogetherandshehasbeenaverysupportiveclassmatethatIhave.Rebeccaisalwayswillingtoshareherpointsofviewsandalwayscaresformyprogressonthethesis.WithoutRebecca’shelp,theapplicationformfortheoralexaminationwouldbedelayedandwithoutRebecca’semotionalsupport,thewholewritingprocesswouldbeunbearable.Anotherspecialfriendisalsoverysupportiveduringthisperiod,thatis,SteveChen.Hehashelpedmewithvariousproblemspertainingtocomputeroperations(computerisagreathelpbutalsocausestroublestoo).Inaddition,hetoleratesmyunstabletemperwheneverIencounterdifficultiesinwriting.Heisalwaysshowinganencouragingattitudetowardmeandtellsmetosticktoit.I’msoluckytohavethiscompanion.Finally,aspecialthankshouldbegiventomyparents.Althoughthetimeismuchlongerthanheexpected,myfatherhasneverpressedanypressureonme.Indeed,hemaysometimesquestionwhetherIcanfinishthethesis(“能不能畢業(yè)啊你?”),butIknowheisjustshowinghiscareforme.Astomymom,sheoftenencouragesmewith“bribery.”Anewcell-phoneistheprizeforthecompletionofthethesis.IhavetosayboththanksandsorrytothembecauseIhavebeentheireconomicalburdenforsuchalongtime.Hopefully,withthecompletionofthethesis,Icancontributebacktothem.ContentTOC\o"1-1"\h\z\uAbstract iAcknowledgement viListofFigures viiiIntroduction 1ChapterOne:FantasyandPhantasy 12ChapterTwo:TheTaoandImageofBruceLee 37ChapterThree:Adaptation 55Conclusion:It’salwaysinBetween. 79WorksCited 82ListofFiguresTOC\t"圖表目錄"\cFig1.BruceLee’spersonalsketchesofhiskungfuchoreography. 5Fig.2.SystematicguidebooksonJKD. 9Fig.3.AdaptationsofBruceLee’syellowbodysuit. 10PAGE9PAGE11IntroductionIn1970’s,themartial-artsgenre“TheforceandpopularityofkungfufilmsintheUSduring1973-75wouldleadtoagenrewemightcallmartialarts”(Morris175).,pioneeredbyTHEundyingstarBruceLee,arose,arousingatremendouskungfucrazeinthemovieindustry.Hollywood,beingthemaincenteroffilmproduction,alsostartedimportingthesepoorlydubbedfilmsandlaterco-optedthem,andastheboxofficeshowed,theywereagreatsuccess(Desser,“TheKungFuCraze”20).Martial-artsgenrehasthencontinuedenjoyingitspopularitytillnowadays,thoughwithvariationstoitscontours(Desser,“TheMartialArtsFilmin1990s”78)DavidDessercategorizesforus5variationaltypesofmartial-artsfilms:the“arena”subgenre,the“l(fā)aw-enforcement”subgenre,the“juvenileadventurefantasy“TheforceandpopularityofkungfufilmsintheUSduring1973-75wouldleadtoagenrewemightcallmartialarts”(Morris175).DavidDessercategorizesforus5variationaltypesofmartial-artsfilms:the“arena”subgenre,the“l(fā)aw-enforcement”subgenre,the“juvenileadventurefantasy”,the“video/cartoonfantasy”,andthe“sci-fi”subgenre.(“TheMartialArtsFilmin1990s”78)Prashadquotingtheconceptfromthephilosopher,Slavoj?i?ek,distinguishesmulticulturalismas“racismwithadistance”(54).JoelStein,thecolumnistofTime,hasoncemockinglycommentedonBruceLee’sthreereleasedmoviesinAmerica:“oneofwhichwasunwatchablybad,theothertwoofwhichwerewatchablybad”--theplotofkungfumoviesissimplymonotonous,uninterestingandpredictable(119).Suchbanalitymayindeedconstituteasonefactorthatcaterstoitsaudience’sDavidDesserclaimsthemartial-artsgenreappealsmostlytoyouthaudienceorsub-culturalgroups,suchas“whiteworking-class”and“DavidDesserclaimsthemartial-artsgenreappealsmostlytoyouthaudienceorsub-culturalgroups,suchas“whiteworking-class”and“blackurbanandrurualaudiences”(“TheKungFuCraze”38).AbbreviatedasJKDinthisthesis.InthefirstchapterIwilltalkaboutBruceLee’skungfuasafantasy/phantasy.Filmisknowntobe“aparticularsiteoftherepresentationoffantasy”(Cowie149),andthemartial-artsfilmisnoexception,especiallyBruceLee’skungfumovie.Therefore,tobeginwith,IwouldliketodemonstratehowinadditiontothemoviesBruceLee’skungfuchoreography(THEessentialelementinmartial-artsfilm)isitselfanotherfantasy/phantasyBothtermsareusedinthisthesisbecausethecombinationofboththeorieshelpstogiveabetterconceptualizationoffantasy/phantasy.,oranembodimentofafantasy/phantasy,oratypeoffantastic/phantasticart.ElizabethCowiehasputitcorrectly,that“theoppositionreal/notrealiswhollyinappropriatetoaconsiderationoffantasy”(149).Likewise,GeraldEagerinhis“TheFantasticinArt”presentsusthetwodistinctframesofreferencebyA.H.BarrandKennethClarkintheirdiscussionoffantasticart--Barr’scenteringon“theirrationalunrealityoftheimages”,andClark’son“theexpressionisticrestlessnessoftheforms”--anddeemsthateachonlyrepresentsapartialtruth(151).Thus,inourinquiryofthecharacteristicsofkungfufantasy/phantasy,thoughitsrelationtoobjectiverealityisequallyimportant,weshouldavoidendeavoringtocomeupwithamorallessonBothtermsareusedinthisthesisbecausethecombinationofboththeorieshelpstogiveabetterconceptualizationoffantasy/phantasy.RobertCrossleyinhisessay,“EducationandFantasy”,haspointedoutthat“theartoffantasyisimperiledbyrationaldiscourseandcriticalquestioning”(282).Therealwaysexistsatriangleineveryartoffantasy:“themakingofthework”,“itsreception”,and“theworkitself”(Eager152).WhenweexamineBruceLee’skungfu,hismartial“arts”,eachofthethreedimensionsshouldallbetakenintoconsideration,especiallytheonemostlyignored,itsprocess.Inregardtothiscreativeprocess,ErichNeumannhastaggeditwiththeconcept“wakingsleep”,seeingintheartist“aspecialanimationoftheunconsciousandanequallystrongemphasisontheegoanditsdevelopment”(180).AndBruceLee’snotesonhisJKDphilosophy,hisscheduleofbody-trainingprogramandhisdrawingsoffightingchoreographySeefigure1.allbearwitnesstothis“interplaybetweencreationandcriticism,manifestedinthepainter’salternationofworkingonthecanvasandsteppingbacktoobservetheeffect”(qtd.inEager,153).Theprocessofmakingfantasy/phantasyisin-betweenthetensionoftheconsciousandtheunconsciousandbetweenthepastandthepresent.HowBruceLee’sJKDisunconsciouslyinitiatedandatthesametime,consciouslyforged,wouldilluminateourunderstandingofthefunctioningofkungfufantasy/phantasy.Here,SusanIsaacs,HannaSegalandJeanLaplancheandJ.B.Pontalisintheirstudyofphantasy/fantasyHereIarrangethetwotermsinadifferentorder(“phantasy/fantasy”insteadofSeefigure1.HereIarrangethetwotermsinadifferentorder(“phantasy/fantasy”insteadof“fantasy/phantasy”)inconsistentwithSusanIssac’spreferenceoftheterm“phantasy.Fig1.BruceLee’spersonalsketchesofhiskungfuchoreography.Inthesecondchapterofthethesis,Iwouldproceedtodealwiththerelationshipsbetweenkungfufantasy/phantasyandtheproblemofidealizationwhichhasitsaffinitywithidentification.AccordingtoCowie,“theword[fantasy]derivesthroughLatinfromtheGreektermmeaningto‘makevisible’”(154).“Fantasyasatermhascometomeanthemakingvisible,present,ofwhatisn’tthere,ofwhatcanneverdirectlybeseen”Surrealistpaintingsattestexactlytothischaracterizationhere.ForexampleHieronymusBosch’sScenesofHell.(154).Inotherwords,imagesoccupyTHEcentralpositioninfantasy/phantasy;tofantasize/phantasizeistosee.Sofaraskungfufantasy/phantasyisconcerned,thespectacleimageofBruceLeeinperforminghisJKDmakesvisibleacertainmysticdesire.AndifasLaplancheandPontalishascontendedthat“fantasy…isnottheobjectofdesire,butitssetting”,theJKDmoves,andtheimageandbodyofBruceLeesignifyanothersettingwithinthefilmwhichisitselfafantasy/phantasysettingtoo(qtd.inDoane,252).Whatthenwouldbetheobjectofdesireortheneedhere?IassumethatthekeytounlockthecontentofSurrealistpaintingsattestexactlytothischaracterizationhere.ForexampleHieronymusBosch’sScenesofHell.Also,areconnaissanceofBruceLee’sownphilosophicalelucidationonhisJKDwillfacilitateourinquiryinthesecondchapter,becauseit,too,representsthewitness,thewitnessofthecreator’sownfantasy/phantasyonhimself.“Jeetkunedoistheawarenessofpurebeing(beyondsubjectandobject),animmediategraspofbeinginits‘thusness’and‘suchness’(notparticularizedreality)”(Lee,BruceLee’sCommentaries65).TherearenumeroussuchannotationsfromBruceLee(heconstantlytakesnotes);anotherfamousonegoeslikethis:“Emptyyourcupsothatitmaybefilled;becomedevoidtogaintotality”(“JeetKuneDo:TowardPersonalLiberation.”143).BruceLeeapparentlyhashisownidealidealizationofJKDandofhimself.Thedidacticguidance,orasIwouldrathercallit,his“comment”,ofhiskungfuskills/artdelineatestheperfectandflawlessmirrorimageofkungfufantasy/phantasy.Howthisimagecorrespondstotheaudience’sprocessofidealizationisworthathoroughinvestigation.Inaddition,theincessantparallelofBruceLeewiththeimage/symbolofdragonIthinkitisworthmentioningherethatBruceLee’soriginalChinesenameisnot“李小龍IthinkitisworthmentioningherethatBruceLee’soriginalChinesenameisnot“李小龍”whichmeanslittledragon,but“李振藩”,“LeeJunFan”.However,thereisonecrucialdifferencelyingbetweentheconceptualizationoffantasy/phantasyandthecaseofBruceLee;thatis,it(JKDfantasy/phantasy)ismorethanaworkinginthemind.Itisnotthesameasahungrychild’sfantasizing/phantasizingsuckingmilk;initsfantasy/phantasythebabyseesthescenebutitswitnessisunproductive.Inthethirdchapter,therefore,thefocuswillbetheotherendofkungfufantasy/phantasy--theaudience’sadaptationandappropriationinsuccessivefilms.DavidDesseranalyzesoneparticularmotifofanagingAsianmasterinthemartial-artsgenre,saying“itisasifAsiaisnolongerabletodefenditselfandmustpassonitslegacytotheWest,whichisbetterabletouseAsia’sskillsandknowledge”(“TheMartialArtsFilmin1990s”,106).ButIwouldsaythemartial-artslegacyisalsoinheritedbytheaudience.BeforeBruceLeepassedaway,heinstructedJKDinthreeschools:“oneinOakland,oneinSeattleandoneinLosAngeles”(Lee,BruceLee’sCommentaries62).EvennowadaystherestillexistsuchschoolscontinuingdispersingJKDJunFanJeetKuneDoHKChapterLimitedisoneexample..Thefantasy/phantasyofkungfuhereismorethanwhatismadevisiblebutwhatismadedoable.MeaghanMorrisinhisanalyzingofthefilm,NoRetreat,NoSurrender,introducesthestoryofaBruceLeefan,JasonStilwell,whose“innerlifeismadeoffilmstills”(174).Wewon’tbemuchmarveledatthepicturegivenhere:alltheBruceLee“paraphernalia…sandbags,awoodenman,ropes”fillsafan’slife(174).ThisfilmmayasMorrishasclaimedbeacommentaryonpoliticalpedagogyofBruceLee’skungfufilmbutitalsovividlyreflectswhataBruceLeefanwoulddo--JunFanJeetKuneDoHKChapterLimitedisoneexample.“Mostmartialartsarethemereperformingofasortofmechanicalrepetitionofafixedpattern…Thisismostunhealthybecausetoliveistoexpressandtoexpressyouhavetocreate.Creationisnevermerelyrepetition”(Lee,BruceLee’sCommentaries18).BruceLeeinhistuitionkeepsremindingusthathisJKDrejectsformsandformalitybutmanualsorguidebooksSeefigure2.Seefigure2.Fig.2.SystematicguidebooksonJKD.ItisnotonlythelegacyofkungfuthatispassedontotheWestmartial-artsgenre,theimageofBruceLee,too,isretainedorappropriatedbyfollowingfilms.Oneofthemostexplicitexamplesishisfilmcostume.TheyellowbodysuitthatBruceLeewearsinhisGameofDeathreappearsinseveralothermovies:thegoalkeeperinShaolinSoccer,JackieCheunginHighRisk,StephenChowinFistofFury1991Ⅱ,YuenQiuinKungFuMahjonandUmaThurmaninKillBillⅠSeefigure3.Seefigure3.Fig.3.AdaptationsofBruceLee’syellowbodysuit.3-A:GameofDeath,3-B:KillBill,3-C:KungFuKungFuMahjon,4-D:HighRisk.Togiveabriefoverviewhere,Idonotmeantopresentthethesisascompletelydeviatingfromthepreviousdiscussionswhicharemoreorlessrelatedtoracialissue.Instead,mythesisalsoconcernshowBruceLeehimselfsituateshimselfinthisissue(racial/nationalpolitics)byobservingandanalyzingthecharacteristicsofhiskungfufantasy/phantasy.Withtheviewfromthecreatorhimself,weareofferedanotherslightlydifferentperspectiveinseeingthekungfuart.WhatI’msuggestingwiththisthesis,therefore,isthepossibilitythattoBruceLee,hiskungfumoviesactuallytrytotranscendracialpoliticsinsteadofutilizingitinachievingitssuccess--thatis,cateringtothewishofanti-racism.PAGEPAGE22ChapterOne:FantasyandPhantasyWhyFantasy/Phantasy?WhyKungFu?“…allcontemporaryworksofart--whetherthoseofhighcultureandmodernismorofmasscultureandcommercialculture--haveastheirunderlyingimpulse--albeitinwhatisoftendistortedorrepressedunconsciousform--ourdeepestfantasyaboutthenatureofsociallife,bothasweliveitnow,andaswefeelinourbonesitoughttobelived.”(qtd.inDonald3)Movies,asaformofart,too,embodythefantasy/phantasyofitsaudiences.Somecelebrateitsfascinatingcreativity;othersderogateitsdelusiveescapism(Donald3).Whetherpositiveornegative,itisnodoubtthatcinematicfantasy/phantasypossessesitsuniquesignificanceanditscloserelationshipwithhumanphysicalandmentallife.Theconceptoffantasy/phantasyactuallyhaslongbeenusedinthediscussionofcinematicspectatorship.AsJudithMaynehaspointedoutthat“WhereFreudandLacanbothoffermuchtofilmtheoryisintheunderstandingofthekindofstatethespectatorenterswhens/hebeginswatchingafilm”(23),the“state”hererefersnotonlytothesubjectofdesireandidentificationbutmostimportantlyandultimatelytothestateof“phantasying”(Freud,“TwoPrinciplesofMentalFunctioning”70).Thisexplainswhywehavereadsomanyarticlesexploringfantasy/phantasyinvariousfilms:horrorfilms,sci-fifilms,romancefilms,etc.Fantasy/phantasyandcinemainasensearecloselyconnected.Inaddition,thepsychoanalyticnotionoffantasy/phantasyhasalsobeenappliedtostudiesotherthanfilms.GeraldEager,utilizingthetheoryofphantasyexpoundedbySusanIsaacs,analyzesthecharacteristicsoffantasticart(mainlyaboutsurrealistpaintings)andbelievesthataless“indiscriminateuse”ispossible“ifthetestofthefantasticisneitherIsitreal?NorDoesitinspireimagination?But,rather,Doesithavemultipleandoppositemeanings?”(157).ThelayeredphotographsofBarbaraKrugerBarbaraKrugerisanAmericanconceptualartist,bornin1945.Herhighlyrecognizableworksarecomposedbyjuxtaposingwordsandphotographicimages(Nixon58).BarbaraKrugerisanAmericanconceptualartist,bornin1945.Herhighlyrecognizableworksarecomposedbyjuxtaposingwordsandphotographicimages(Nixon58).Butwhykungfumovies?Howwouldkungfubeenlighteninginourdiscussionoffantasy/phantasy?Therearetworeasonsjustifyingthechoiceofthissubject.Firstofall,asmentionedintheopeningintroduction,discussionsofBruceLee’skungfucinemaaremainlyabout“thepreoccupationwithracialpolitics”(Shu51).YuanShu’sessay,“ReadingtheKungFuFilminanAmericanContext:FromBruceLeetoJackieChan”bestexemplifiesthispoint.AlthoughwhatYuanShuactuallydoesistoarguethathowJackieChanisdifferentfromBruceLeeinaccommodating“thetasteandneedsofthemiddleclassonaglobalscaleofprofitsandentertainment”(50),heatthesametimepresentsforushowseveralscholarsaresoobviouslyconcernedaboutracial,nationalistic,andcolonialissuesinBruceLee’skungfumovies.AccordingtoShu,Hsiung-pingChiao,forexample,“considersLee’santicolonialsentimentsasanexplanationforhispopularityamongtheaudiencesinSoutheastAsiaandtheAmericaninnercity”and“arguesthattheKungFufilmfunctionedasameansofcatharsisfortheoverseasChinese”(52).Likewise,Kwai-CheungLoanalyzeshowthe“ChinaportrayedinLee’sfilmisaremotespaceemptiedofsocialandpoliticalreality”,howHongKonginhabitantscanassociatewiththis“culturalimaginary”andhowsucha“sucharenditionofChinaequallyhighlightstheproblemofculturaldislocationamongtheinhabitantsofHongKong”(qtd.inShu52).Inotherwords,thefirstreasonforchoosingkungfufilmindiscussingthesubjectoffantasy/phantasyisthattheotherdiscussionsfocusmostlyonthefantasy/phantasyofmanifestscenariosorplots(ofthemovies)inrelationtoitshistoricalcontextnotonthefantasy/phantasyofkungfu(theperformingart)itself.KungfuhashadalonghistoryoflineagebeforetheinventionofideologieslikenationalismorcolonialismandcertainlybeforetheinventionofcinemaStanleyStanleyE.Henninginhis“TheChineseMartialArtsinHistoricalPerspective”hasintroducedathoroughhistoricaldevelopmentofChinesekungfu,tracingitsoutsettotheteachingof“Confuciantradition,theRitesofZhou”(周禮)inwhichsixarts(六藝)arelisted.Amongthesixarts,“archery(射)andcharioteering(禦)andevenmusic(樂)containanelementofmartialskill”(Henning174).Thesecondreasonforchoosingkungfuinourinquiryoffantasy/phantasyliesinthetheoreticalaspectwhichcanbesubdividedintotwolevels.First,kungfuischosenbecauseofitsphysicality,itscloserelationwiththehumanbody.Unlikefantasy/phantasyrepresentedbypaintings,photographs,orsculpture,kungfuactionconcernsnotonlythevisualspectaclebutalsothebodilyperception.Inotherwords,wenotonlywatchkungfumovementsbutalsofeelitskinesthesis.“Freudsawphantasyoccupyingthevaguefrontierbetweenthementalandthesomatic”(Glover),andhisanalysisontheneurosiswhichcontributestohistheoryonfantasy/phantasy,isalsofundamentallyaboutconnectingsomaticsymptomswiththismentalphenomenon:“Freud’sdiscoveryofunconsciousthoughtsunderlyinghystericalsymptomscanbeseenasequivalenttothediscoveryofunconsciousphantasy”(Segal,Dream,Phantasy,andArt16).Isaacs,too,saysthatthe“earliestphantasies…springfrombodilyimpulsesandareinterwovenwithbodilysensationsandaffects”(168).LaplancheandPontaliswhoholdsseveraldisagreementswithIsaacsontheconceptoffantasy/phantasy,by“l(fā)ocatingtheoriginoffantasyintheauto-eroticism”,theyinfacthaveshownnotonly“theconnectionbetweenfantasyanddesire”(133)butalsobetweenfantasy/phantasyandbodily(un)satisfactionbecausethenotionofauto-eroticismisneverapartfromhumanbody(althoughtheirconnectionwiththisbiologicalbasisisnotsoexaggeratedasIsaacs’s,itcannotbeeffaced).Second,kungfuisalsoitselfaspectacle.The“can-be-looked-at-ness”ofkungfumovementsandkungfubodythoughsharethesamenaturewithotherformsoffantasy/phantasyartstillcannotbeignoredbecausethisvisibilityremainafterallthenucleusofallfantasy/phantasy.OwingtothesetworeasonsIbelieveweshouldgobacktothisstartingpoint,salvagingwhatthisbodilyfantasy/phantasyofkungfuhastosay.TheCreationofJeetKuneDoand