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This paper, through the concept of prosthesis, explores the narrative expression in Taiwan “Healthy Realism” cinema of the 1960s and 1970s with regard to its social function in the particular mode of governance and affective subjectivity brought about by the cinema, which is labeled as prosthetic modernity. Prosthesis in this paper has multiple implications in the representation of rhetoric, machine, and image. In the narrative presentation, prosthesis characterizes the primary features of the narrative structure, leading to the formation of an artificial, ideal body that symbolizes an ideal nation and society. Such form of narrative prosthesis is also an expression machine, dissembling/assembling its machinic parts and co-functioning with other social machines. In addition, the cinema that produces prosthetic images intervenes the governance through the creation of historical memories and affective subjectivity. Also, this paper questions the idea of prosthetic modernity by asking how a “real” body and “real” memory can become possible in the composition of narrative prosthesis and the constitution of artificial memories.

KEYWORDS: Health Realism cinema, narrative prosthesis, health machine, prosthetic memory, prosthetic modernity  

摘 要

本文透過義肢的概念,討論台灣健康寫實主義電影的敘 述表達,社會運作,以及電影媒介本身作為政府治理媒介所 披露的社會模式與特殊的情感主體構成,並標誌為「義肢現 代性」。在本文討論中,「義肢」含有多面性的意涵,包括修 辭,機器與影像的。義肢的修辭不僅刻畫電影中的重要角 色,敘述更導向整體性的人工義肢身體,因此指涉了社會、 政治、文化、乃至意識型態的集體性意涵。義肢敘述同時一 部表達機器,展示了各項元件的真實連結,並與其他社會機 器協調運作。而電影作為義肢影像,則透過人工塑造的集體 記憶與情動影響,介入社會意識型態運作與生命治理。論文 最後進一步質問,在健康寫實電影的義肢敘述與義肢影像塑 造的歷史記憶中,真實的身體與記憶如何可能?

關鍵詞:健康寫實電影、義肢敘述、健康機器、義肢影像、 義肢記憶、義肢現代性