根據上述定義，於是分別在人物對話上與影段的連結上提出個別的分析。研究發現，所謂的「無厘頭」在文本中的作，履行著文本自身解構的功能，對權力與意義做出一種新的表述方式。周星馳電影往往針對先前原典的閱讀，進行某種改寫與竄寫，透過無厘頭語言，進行自身的文本解構，並生產出新的意義，使原先的敘事中心價值意義由此產生鬆動，在意義的翻新中，敘事權威發聲源的位置，也不再穩固地根植。此外，無厘頭語言的發生，使得一種嵌附於主流電影敘事文本的既定權力關係，產生干擾；敘事中的不可信賴特質讓過往慣例的觀影權力關係產生轉變，符徵的遊戲，不斷打破慣有的觀影預期，使得觀影者需要採取一種介入的視野，將原本看似遙遠、龐大且具本質性的事物，當成更廣泛、更深刻的人們思維與實踐的產物，主客體的距離與視角，產生異動，而這樣的權力變化，正是一項觀眾賦權的形式表徵。 Stephen Chow’s movies have introduced a Kuso for movies with illogical humor. The frivolous conversations, scenes that are pieced together, and unconventional narrative structures in the text break the existing rules of mainstream narrative movies. In this article, a text analysis on the language of illogical humor will be used based on Foucault’s power theory and Derrida’s deconstruction strategy to explain the power shift between subject and object as well as the attribute of rewriting textual meaning during a viewer’s experience. This article, first of all, re-defines the way illogical language is presented in a cinematic text on the basis of linguistics and cinematic studies. Through related analyses, it can be concluded that－ 1.the “illogical humor” in actors’ lines: some lines are unexpected in the dialogues of roles. The abrupt appearance of those lines tends to destroy the self-sufficiency of the drama. 2. The illogic of cinematic narratives: the viewing experience of bluntly-connected scenes does not correspond to the anticipatory effects of narrative movies. Based on the definition above, individual analyses on dialogues and scene conjunction are provided. This study finds the function of “illogical humor” in a text carries out the deconstruction of the text itself and results in a whole new way to express power and meaning. In Stephen’s movies, the classic readings are usually rewritten and alerted. Through the language of illogical humor, the text itself is deconstructed, which leads to a new meaning that crumbles the core value of the original narrative. During the process of renewing meanings, the source of narrating no longer maintains its authority. Additionally, the emergence of language of illogical humor has caused an interruption to the existing power relation embedded in the narrative text of mainstream movies. The unbelievable attribute of narrative has changed the power relation of viewing in the past. The game of symbols continues to alter the viewing expectation of the past, forcing viewers to take an involved perspective to see the seemingly distant, enormous and substantial things as the products of men’s extensive deep thinking and implementation. As the distance and angle between subject and object change, this kind of power shift stands for a symbol of empowering viewers.
