魏玓

Ti Wei

文化政治、被壓抑的重返、豬哥亮、豬哥亮歌廳秀、電視娛樂

cultural politics, the return of the repressed, Zhu Ge Liang, Zhu Ge Liang’s Night Club Live Show, televised entertainment

本論文從電視科技與產業變遷，以及電視娛樂的文化意涵等兩個面向切入，探討1980年代豬哥亮歌廳秀節目中各種文化再現的意義鬥爭與矛盾，進而分析其中娛樂與政治交錯下的臺灣電視文化動態。本文認為，豬哥亮歌廳秀表演所呈現的文化政治，類似於佛洛依德「被壓抑的重返」的論題，但其過程是來往迂迴、模糊曲折，而不是一路單行。迂迴模糊製造了笑料與荒謬，為觀眾帶來觀賞樂趣，也支撐了當時臺灣傳播產業的變遷。

In the paper, the complex cultural representations of the 1980s Zhu GeLiang’s Night Club Live Show are examined by considering twoperspectives—namely the transformation of television technology andindustry and the cultural implication of televised entertainment—and by analyzing the documents and the texts of his shows. This paper demonstrates that the cultural politics of Zhu Ge Liang’s Night Club Live Show is consistent with Freud’s thesis of “the return of the repressed.” However, the processes of the return were indirect and ambiguous. The indirectness and ambiguity stimulated laughter and pleasure, which were welcomed by the audience. Therefore, it also contributed to the transformation of communication technologies and the communication industry at the time.