Peter Zhang Yaozhong
I still dare not speculate on such a problem. If Leslie Cheung leaves in another way, will his life still be a legend? This problem will probably never be solved. For many "fans", in the face of the huge silence and blank left by Leslie Cheung's leap over Mandarin Hotel, any doubt can only be unsolvable and can only point to the eternal darkness of nothingness. In Luo Feng's Leslie Cheung: No Butterflies, we see different attitudes when facing a huge gap. Life in Leslie Cheung is a splendid firework, but it also leaves a variety of disturbing things. This is because we are far from asking rational questions about Leslie Cheung's voice and shadow world. For the first time, Luo Feng put Leslie Cheung as the research object of the college in front of us.
There are some habitual emotional patterns in Leslie Cheung's memory, but it is rare that Luo Feng hides his most direct feelings behind the words for most of the time in the book. Her thinking is probably like this: "I take his later style as the starting point of this book-the first chapter" Androgyny "borrows the concept of" gender game "to discuss how Zhang's" Yi Fu "drives queer's camp sensibility; The second chapter "Blame you for being too beautiful" analyzes Zhang's special heterogeneity with the theoretical framework of "body politics"; The third chapter, Seeing Flowers in front of the Mirror, discusses Zhang's "narcissus" form from the perspective of mythology and psychology. The fourth chapter "The Curse of Life" shows Zhang's consciousness of death in the last stage of his life through psychoanalysis and depression theory. These four chapters focus on Leslie Cheung's incisive aesthetic structure, while the last two chapters turn to sociology and questionnaire survey to explain how Leslie Cheung, as a pioneer artist and controversial public figure, was received, commented and even attacked, and what kind of social form was reflected in it; The fifth chapter' Your eyes only touch my side' writes about Zhang's' media discourse' in newspapers and periodicals before and after his death, to see how he shows the black-and-white prejudice of Hong Kong's media culture; The sixth chapter "Mysteries and Thoughts of the Past Years" shows the prosperous image of his "fan culture" and summarizes his final artistic achievements. " Luo Feng did not say that the significance of Leslie Cheung as an idol can be enhanced by various postmodern theories, but through such a route, the relationship between Leslie Cheung and his various contexts became clear for the first time. This is the beauty of Luo Feng: different from a purely private memorial, she expressed the interactive characteristics between Leslie Cheung's own personality and its social context, media operation and popular culture in the network of various relationships.
Although Luo Feng said that she wrote as an opera fan, that is to say, this dual identity made her transcend the limitations of a simple "opera fan" identity or a simple literati identity, but I still feel that Luo Feng touched a boundary from time to time in the whole book-grasping Leslie Cheung's world was only completed within the possible limits. At the same time, I also feel the imbalance of her status as a "fan" and a "scholar". This is because as a "fan", her identity itself determines that she presupposes Leslie Cheung's life as a wonderful poem. At this point, different voices about Leslie Cheung itself failed to participate in the discussion. Is it that he has nothing to reflect on or that Luo Feng deliberately avoided it? Does Luo Feng's exploration of writing depth stop at some places? I don't think so. Luo Feng regards Leslie Cheung's voice and images as the most direct expression of his life, but keeps silent about Leslie Cheung's deeper feelings. Probably because Luo Feng knows, and beyond that, we can say very little. Here, Luo Feng's choice-what to say and what not to say-is indeed: because she knows, she is merciful.
Luo Feng finally released his feelings as an ordinary "fan" in the postscript. Emotion produces literature, and literature produces emotion. There are difficulties everywhere. So in this way, Luo Feng finally revealed her feelings at a glance, which was touching. Zhu Tianwen once said, "There is always a time limit in life. What is after that or after that? Always sad and melancholy, just leave it blank! " Since all problems may come to such a node, what is the significance of theoretical writing and interpretation of six chapters? This book should belong to Luo Feng's own enlightenment. The analysis of those theories and the construction of various relationships are all restrictions on feelings again and again. Let us see their outlines and boundaries as clearly as possible, just to make those things that can never be rational rational. If Leslie Cheung's death is not in a memory written in * * *, in the simple, pure and continuous commemoration of those fans, then in a rational and emotional writing, in Luo Feng's book, Leslie Cheung's life and death will become the possibility for us to reflect on ourselves, and Leslie Cheung's life can be truly sublimated while we grow up.