法國電影《印度支那》（Indochine, 1992）中艾田（Etienne）受洗的一幕，既樹立生父一方的父之名，也強化生母一方的父之名。艾莉安（Eliane）自始就啟動（後）殖民主義辯證，灌輸越南人主宰／奴隸關係的概念，最後佔據父之名，而這概念是殖民者刻意運用的父之名的固有特質。艾莉安身兼卡蜜（Camille）的養母、林西（Lan-Saï）農場主人、影片內在兼同質敘述者，是為父之名法律、經濟、陳述三大層面的化身。尚－巴堤斯特（Jean-Baptiste）、卡蜜、艾田圍繞著艾莉安打轉，形成父之名的分身機制。由於本片旨在於前後二代人的政治、文化啟悟，卡蜜與艾田遂成分身機制所確保（後）殖民主義辯證的目標。

In the French film Indochine (1992), Etienne’s baptism sets up the Name-of-the-Father of the spear side and reinforces that of the distaff side. From the outset, Eliane launches the (post)colonialist dialectic and manages to appropriate the Name-of-the-Father by instilling into the Vietnamese mentality the master/slave relationship which, inherent to its functioning, is wittingly manipulated by the colonizers. As Camille’s adoptive mother, the mistress of the Lan-Sai plantation and the intradiegetic-homodiegetic narrator of the film, Eliane turns out to be the legal, economic and discursive avatar of the Name-of-the-Father. Jean-Baptiste, Camille and Etienne revolve around Eliane like a constellation, constituting a mechanism of its doubles. Since the film bears on two generations’ politico-cultural initiation, Camille and Etienne are the objects of the (post)colonialist dialectic the mechanism of doubles secures.