香港主体性的失魂或回魂？：论《倩女幽魂》电影系列中的政治无意识 = Disappearance or reappearance of Hong Kong subjectivity’s soul? : a study of the political unconscious in “A Chinese Ghost Story” film series

香港电影1980至90年代的黄金时期已然逝去。随着2003年《内地与香港关于建立更紧密经贸关系的安排》（CEPA）的签订，中港合拍作为一种电影制片与营销模式更是大势所趋。然而，基于各种政治与市场因素，合拍片中的香港主体性难免逐步被磨蚀。但是，这并不完全意味着“香港电影已死”。本文以弗雷德里克•詹姆逊（Fredric Jameson）的政治无意识理论为思想核心，并结合一些文化研究学者如罗永生、洛枫、斯图亚特•霍尔（Stuart Hall）、王宏志、周蕾等人的学术观点，对港产片《倩女幽魂》三部曲和中港合拍片《新倩女幽魂》共四部电影文本进行政治化的解读。本文旨在揭示港产片《倩女幽魂》三部曲与香港当时政治生态的互动关系，以及电影在后来的合拍片中如何被重新包装，以不同的姿态继续为香港的文化与身份发声。The golden era of Hong Kong film of 1980- 90s is over. Followed by the signing of “Closer Economic Partnership Arrangement between Mainland and Hong Kong ” (CEPA), the close cooperation between Mainland and Hong Kong in the field of film production and marketing has become a conventional trend. However, due to the influence of political and marketing factors, the once prominent characteristic of Hong Kong’s subjectivity has been gradually effaced in co-production films. But, this does not mean that Hong Kong film is dead, as gathered from public opinion. The thesis basing the theory of “Political Unconsciousness” by Fredric Jameson as core argument, combining various academic views of respectable academics in the Cultural Studies field such as Law Wing Sang ,Natalia Chan ,Stuart Hall ,Lawrence Wang, and Rey Chow , politicized interpretation of “A Chinese Ghost Story ” film series .The thesis attempts to unveil the interaction between the Hong Kong-produced “A Chinese Ghost Story ”film series and its political ecology. Furthermore, it also discusses how the re-packaging of the co-produced film enabled “A Chinese Ghost Story” continues to represent issues of Hong Kong culture and identity in a different way.Bachelor of Art