【正文】 rship. As Judith Mayne has pointed out that “Where Freud and Lacan both offer much to film theory is in the understanding of the kind of state the spectator enters when s/he begins watching a film” (23), the “state” here refers not only to the subject of desire and identification but most importantly and ultimately to the state of “phantasying” (Freud, “Two Principles of Mental Functioning” 70). This explains why we have read so many articles exploring fantasy/phantasy in various films: horror films, scifi films, romance films, etc. Fantasy/phantasy and cinema in a sense are closely connected.In addition, the psychoanalytic notion of fantasy/phantasy has also been applied to studies other than films. Gerald Eager, utilizing the theory of phantasy expounded by Susan Isaacs, analyzes the characteristics of fantastic art (mainly about surrealist paintings) and believes that 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).。 therefore, it, as the distinctive and the material element in cinema, serves more than the function of supporting and disseminating certain desired ideology but has its own fantastic facets. In other words, I would say kung fu is discussed not only in terms of an element in cinema but also in terms of a material phenomenon or action in human life.The second reason for choosing kung fu in our inquiry of fantasy/phantasy lies in the theoretical aspect which can be subdivided into two levels. First, kung fu is chosen because of its physicality, its close relation with the human body. Unlike fantasy/phantasy represented by paintings, photographs, or sculpture, kung fu action concerns not only the visual spectacle but also the bodily perception. In other words, we not only watch kung fu movements but also feel its kinesthesis. “Freud saw phantasy occupying the vague frontier between the mental and the somatic” (Glover), and his analysis on the neurosis which contributes to his theory on fantasy/phantasy, is also fundamentally about connecting somatic symptoms with this mental phenomenon: “Freud’s discovery of unconscious thoughts underlying hysterical symptoms can be seen as equivalent to the discovery of unconscious phantasy” (Segal, Dream,Phantasy, and Art 16). Isaacs, too, says that the “earliest phantasies… spring from bodily impulses and are interwoven with bodily sensations and affects” (168). Laplanche and Pontalis who holds several disagreements with Isaacs on the concept of fantasy/phantasy, by “l(fā)ocating the origin of fantasy in the autoeroticism”, they in fact have shown not only “the connection between fantasy and desire” (133) but also between fantasy/ phantasy and bodily (un)satisfaction because the notion of autoeroticism is never apart from human body (although their connection with this biological basis is not so exaggerated as Isaacs’s, it can not be effaced). S