本文從康德、黑格爾哲學與拉岡、紀傑克的精神分析角度去探討魏德聖電影中所呈現被一般歷史書寫所壓抑的「負面性」（negativity）。筆者認為歷史論述本身就帶有暴力性，是統治者與統治族群藉由建立有利於自己的「主人論述」，藉以改變、壓抑或忽略與統治者當代相左的史料，讓統治者與族群所建立的歷史論述能被合理化，與現有事實接軌，求得治理的正當合法性，俾使社會秩序與社會大眾的思緒隨治理者的意願與治理政策方向順利運作。依循如此象徵秩序的思考模式，個體必須接受統治者的歷史書寫及其所認可的「主人能指」（Master Signifier），方能融入社會秩序中，成為被認可並接受的主體。除了被動地接受，個體也主動地透過主人能指，自動產生意識形態幻想（ideological fantasy），無意識地投射在現實生活中，讓主體以一種安逸現狀的心態生活，不去質疑歷史中充滿矛盾與衝突性的負面性。第二部分從康德、黑格爾與拉岡的角度討論主體思緒中被壓抑的負面性，如何對主體跟象徵秩序的意義鍊造成威脅，並擾亂其完整性。雖然這種負面性因為具有破壞及干擾性，所以必須被遺忘壓抑；不過此暗藏跳脫既有框架限制及反思力道的負面性，則存在於歷史中被遺忘的邊緣人身上。由於魏德聖的電影也著重探討負面性，因此，筆者認為可以藉由魏德聖電影中的人物及情節重新審思過往的歷史。本文的第三部分，筆者透過對「主人論述」與「分析家論述」之間的探討，凸顯執著於主人能指的主人論述在魏德聖的電影中帶來的暴力過程與悲慘結局。「分析家論述」並不執著於主人能指，反而跳脫主人能指，不再以主人能指所引導的小客體來掩飾蓋負面性，而是以暫時全然空白的方式，寄望重新認識過去那段傷痛的負面性；透過這種負面性的追求，找尋未來能讓傷痛出現的主人能指。筆者認為魏德聖導演的貢獻在於透過電影的再現，幫助觀者脫離主人論述與主人能指，再度經驗歷史中的創傷，並進而理解邊緣人的歷史，找到另一種思考面向，改變既有的歷史書寫模式，避免歷史重蹈覆轍。

This paper draws on Kant, Hegel, Zizek and Lacan to discuss representations of repressed ＂negativity＂ in Wei Te-Sheng's movies. These negativities are often repressed, disciplined, and regulated by the ruling class. Taking recourse to Lacanian and Zizekian psychoanalysis, I attempt to show how popular culture narratives of history perpetrate violence upon the psyche via a process in which the ruling class construct and reinforce a master's discourse beneficial to them. The result of this process is that the public will feel compelled to follow the master's discourse qua the social order in order to be accepted as a member of society. This, moreover, prompts the public to actively generate and project the received ideological fantasy onto their personal lives in order to avoid encountering traumatic negativity. In the second part, I explore the meaning of negativity from the perspective of Kant, Hegel, and Lacan. When the negativity resurfaces, it threatens to disturb or impede the operation of signification. Although the negativity must be repressed so that signification can function properly, it offers us the opportunity to perceive the excluded parts of the collective history. As Wei's films focus on the negativity, I stress that we can reflect on our history via plots and characters in his films. In the final part of this paper, I compare the master's discourse with the analyst's discourse to underscore the violent nature of the master's discourse. The analyst's discourse aims to overthrow the master signifier. In the analyst's discourse, the analyst enables the analys and to perceive the emptiness behind its objet petit a, but forces it to confront the traumatic negativity. Through a discussion of negativity, I show how Taiwanese viewers were encouraged to abandon the master signifier as well as the master's discourse. It proposes a means to avoid the reproduction of oppressive or subjugating narratives of history.