【正文】 a less “indiscriminate use” is possible “if the test of the fantastic is neither Is it real? Nor Does it inspire imagination? But, rather, Does it have multiple and opposite meanings?” (157). The layered photographs of Barbara Kruger Barbara Kruger is an American conceptual artist, born in 1945. Her highly recognizable works are posed by juxtaposing words and photographic images (Nixon 58). are also discussed in terms of fantasy by Mignon Nixon. Nixon uses Laplanche and Pontalis’s exposition on fantasy: “fantasy is a … setting… in which the subject may even be elided into the syntax or matrix of the scenario, then no position is stable or essential” (60), presenting how Barbara Kruger’s works play or subvert the meaning of (female) identity. That fantasy/phantasy is an illuminating idea is obviously undeniable.But why kung fu movies? How would kung fu be enlightening in our discussion of fantasy/phantasy? There are two reasons justifying the choice of this subject. First of all, as mentioned in the opening introduction, discussions of Bruce Lee’s kung fu cinema are mainly about “the preoccupation with racial politics” (Shu 51). Yuan Shu’ s essay, “Reading the Kung Fu Film in an American Context: From Bruce Lee to Jackie Chan” best exemplifies this point. Although what Yuan Shu actually does is to argue that how Jackie Chan is different from Bruce Lee in acmodating “the taste and needs of the middle class on a global scale of profits and entertainment” (50), he at the same time presents for us how several scholars are so obviously concerned about racial, nationalistic, and colonial issues in Bruce Lee’s kung fu movies. According to Shu, Hsiungping Chiao, for example, “considers Lee’s anticolonial sentiments as an explanation for his popularity among the audiences in Southeast Asia and the American inner city” and “argues that the Kung Fu film functioned as a means of catharsis for the overseas Chinese” (52). Likewise, KwaiCheung Lo analyzes how the “China portrayed in Lee’s film is a remote space emptied of social and political reality”, how Hong Kong inhabitants can associate with this “cultural imaginary” and how such a “such a rendition of China equally highlights the problem of cultural dislocation among the inhabitants of Hong Kong” (qtd. in Shu 52). In other words, the first reason for choosing kung fu film in discussing the subject of fantasy/phantasy is that the other discussions focus mostly on the fantasy/phantasy of manifest scenarios or plots (of the movies) in relation to its historical context not on the fantasy/phantasy of kung fu (the performing art) itself. Kung fu has had a long history of lineage before the invention of ideologies like nationalism or colonialism and certainly before the invention of cinema Stanley E. Henning in his “The Chinese Martial Arts in Historical Perspective” has introduced a thorough historical development of Chinese kung fu, tracing its outset to the teaching of “Confucian tradition, the Rites of Zhou” (周禮) in which six arts (六藝) are listed. Among the six arts, “archery (射) and charioteering (禦) and even music (樂) contain an element of martial skill” (Henning 174).。 that is, it (JKD fantasy/ phantasy) is more than a working in the mind. It is not the same as a hungry child’s fantasizing/ phantasizing sucking milk。 Fantasy”, “The Tao and Image of Bruce Lee”, and “Adaptation.” In the first chapter I will talk about Bruce Lee’s kung fu as a fantasy/phantasy. Film is known to be “a particular site of the representation of fantasy” (Cowie 149), and the martialarts film is no exception, especially Bruce Lee’s kung fu movie. Therefore, to begin with, I would like to demonstrate how in addition to the movies Bruce Lee’s kung fu choreography (THE essential element in martialarts film) is itself another fantasy/ phantasy Both terms are used in this thesis because the bination of both theories helps to give a better conceptualization of fantasy/ phantasy. , or an embodiment of a fantasy/phantasy, or a type of fantastic/ phantastic art. Elizabeth Cowie has put it correctly, that “the opposition real/ not real is wholly inappropriate to a consideration of fantasy” (149). Likewise, Gerald Eager in his “The Fantastic in Art” presents us the two distinct frames of reference by A. H. Barr and Kenneth Clark in their discussion of fantastic artBarr’s centering on “the irrational unreality of the images”, and Clark’s on “the expressionistic restlessness of the forms”and deems that each only represents a partial truth (151). Thus, in our inquiry of the characteristics of kung fu fantasy/phantasy, though its relation to objective reality is equally important, we should avoid endeavoring to e up with a moral lesson Robert Crossley in his essay, “Education and Fantasy”, has pointed out that “the art of fantasy is imperiled by rational discourse and critical questioning” (282). from kung fu fantasy/phantasy, and make a judgment accordingly. Instead, I intend to show how the fantastic/phantastic art of kung fu is always inbetween real and not real, delusional pleasure and harsh reality. It is both an indulgence which the traditional Marxist may strongly oppose, and an energy which makes a difference.There always exists a triangle in every art of fantasy: “the making of the work”, “its reception”, and “the work itself” (Eager 152). When we examine Bruce Lee’s kung fu, his martial “arts”, each of the three dimensions should all be taken into consideration, especially the one mostly ignored, its process. In regard to this creative process, Erich Neumann has tagged it with the concept “waking sleep”, seeing in the artist “a special animation of the unconscious and an equally strong emphasis on the ego and its development” (180). And Bruce Lee’s notes on his JKD philosophy, his schedule of bodytraining program and his drawings of fighting choreography See figure 1. all bear witness to this “interplay between creation and