史柯西斯《隔離島》和諾藍《全面啟動》 兩部電影中之創傷和亡妻回歸

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Title:	史柯西斯《隔離島》和諾藍《全面啟動》兩部電影中之創傷和亡妻回歸
Authors:	鍾之梅
Contributors:	英文系
Keywords:	創傷夢佛洛伊德亡妻
Date:	2013-07-02
Issue Date:	2013-09-12 13:09:56 (UTC+8)
Abstract:	本論文主旨在探討亡妻之回歸，透過分析以下兩部電影：馬丁．史柯西斯的《隔離島》，和克里斯多夫．諾藍的《全面啟動》。以佛洛伊德的心理分析理論來討論兩部電影中的夫妻關係，尤其是壓抑理論、罪惡感、創傷和夢的解析等理論。在電影《隔離島》裡，當泰迪發現他患有精神疾病的妻子，殺了他們的三個孩子後，他射殺了他的妻子。從此之後，這樣的衝擊和他強烈的罪惡感結合，導致最後變成一位關在隔離島的精神病患，而他的老婆一直出現在他的白日夢或是幻想裡。唐柯柏和他的團隊必須透過進入一位目標的夢境，達成在心理植入想法的任務。但她老婆自殺後卻一直像鬼魂般地回到他老公的（共）夢裡。根據我的閱讀，在這兩部電影裡面，男主角們對於老婆的死都感到罪惡。也正因為他們需要負責任，所以壓抑罪惡感和創傷的記憶深植潛意識裡，就如同佛洛伊的所提出的原型一樣。罪惡感及創傷與之前的創傷記憶是息息相關的，會對兩位男主角造成令人心神不寧和無法平衡的影響。因此當泰迪是一個在隔離島的精神病患，被困在自己的框架裡。柯柏則是困在有著不同層夢境階層的廣大的共夢網路裡。因此在這兩件相同的案例裡，很適合套用佛洛伊德認為儲存壓力的感受和記憶等等的「深度潛意識」來分析。如同這兩部電影中死掉的妻子繼續回到活著的丈夫身邊。第一章我會透過佛洛依德的《夢的解析》，和其他作品來針對壓抑和創傷做一個簡短的綜述。第二章則是討論《隔離島》泰迪的創傷記憶：第二次世界大戰。泰迪幻想一位男人，他認為是他殺死了他的老婆。另外還有討論，心理象徵，關於隔離的監獄島和燈塔等等。第三章我會探討《全面啟動》的複雜共同的夢境世界，和垂直的夢境階層和動態墜落和升起的意象。這裡會強調柯柏和他老婆之間的夫妻關係。第四章強調在比較和討論他們心理分析主題相接近的象徵意義和神話層面。 This thesis explores the theme of the dead wife’s “return” in two recent films, Scorsese’s Shutter Island and Nolan’s Inception. Freudian psychoanalytic theory, particularly Freud’s theories of repression, guilt, trauma and dream interpretation, are used to discuss the husband-wife relationship in both films. In Shutter Island, Teddy Daniels shoots his insane wife after finding she has killed their three children, and given the shock of this experience combined with his own intense feelings of guilt, he ends up as a mental patient on Shutter Island where his dead wife appears to him in daydreams or hallucinations. In Inception, Nicoli Cobb and his team need to implant an idea in a man’s mind by entering into his dreams, or rather by entering a complex communal dream with Cobb’s wife as one of the dreamers. She has committed suicide and now continues to come back into or “haunt” her husband’s (shared) dreams. According to my reading, in both films the male protagonist feels guilty about his wife’s death, for which he must take some responsibility, and represses this guilt and the traumatic memory of the wife’s death into his unconscious as in the classic Freudian model. However, this guilt, closely associated with the traumatic memory of what has happened, will have a disturbing or unbalancing influence on the waking life of the two protagonists. Whereas Teddy as a mental patient in Shutter Island is already trapped within his own deluded frame of mind, Cobb in Inception is trapped inside of a vast network of shared dreams with several “dream-levels.” Thus in both cases it seems fitting to use the Freudian theory of a deep unconscious, one which stores repressed feelings and memories that nonetheless, like the dead wives themselves in these two films, continue to return to or haunt their living husbands. In Chapter One I will give a brief overview of Freud’s theory of repression and trauma, with reference to The Interpretation of Dreams and other works. In Chapter Two I will look at Shutter Island in the light of Teddy’s traumatic memories of killing people in World War II, his fantasizing of a man (his alter-ego) whom he believes killed his wife, and the psycho-symbolic meanings of the isolated prison-island and the lighthouse. In Chapter Three I will explore the complex, communal dream-world of Inception with its several vertical dream-layers and its dynamics of “falling” and “rising”; here the focus will be on the relationship between Cobb and his wife as it is set forth within this world. Chapter Four will compare the two films by focusing on their symbolic and mythic dimensions, which are also closely related to their psychoanalytic themes.
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