二○一四年上映的電影《軍中樂園》為鈕承澤（1966-）所導演作品，以
金門沙美東蕭村洋樓為主要場景，並將時間設定於八二三砲戰結束後十一年的
一九六九年，以此鋪衍金門特約茶室中的愛恨情仇。電影部分取材來自葉祥曦以
陸軍第二軍團鳳山特約茶室為本的〈軍中樂園祕史〉一文，伴隨的原創故事結集
則有彭雁筠《軍中樂園》一書。
本文將以電影及相關文本為探討核心，聚焦面向有二，其一意在觀察軍中樂
園作為一剝削女體、侵佔女體的場域；軍隊作為一規訓男體、鍛鍊男體的特殊空
間，在電影與文學作品中如何被呈顯？其中身體的被踐踏與反踐踏，又如何形
成影片的敘事張力？其二是在國體與身體的映照之外，特約茶室做為戰地特異
的存在，尚有一空間型態的對比意義，本文擬以傅柯（Michel Foucault，1926-

1984）提出的「異托邦」概念，介入軍中樂園空間的討論，考察其與現實空間
的互動與映照。

Paradise in Service, released in 2014, was directed by Chen-zer Niu (1966-).
With the western-style house in Shamei Dongxiao Village, Kinmen as its main scene
and with the time set in 1969, eleven years after the Second Taiwan Strait Crisis, the
movie aims to present the love and hate in the military brothel in Kinmen. Part of the
movie was taken from Ye Xiangxi’s A Secret History of Paradise in Service, which
documents the special tea house of the ROC Army Second Corps in Fengshan. The
film project also spawned an original story collection by Peng Yan-yun, also titled
Paradise in Service.
This study examines two critical dimensions of the fi lm and its related texts. The
first dimension investigates how the military paradise functions as a site of female
body exploitation and occupation, while simultaneously examining how the military
apparatus as a distinctive space of male body disciplining and training is represented
in both cinematic and literary works. The second is that in addition to the refl ection
of the national body and the human body, the military brothel as a special existence
of the battlefield has a comparative significance of the spatial pattern. The paper
intends to intervene in the space of the paradise in service with Michel Foucault’s
“heterotopia” concept to investigate its interaction and refl ection with the real space.