體驗區
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| 篇名 |
從蔡明亮的創作境遇看克服阻力現身之影像
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| 並列篇名 |
See the Image Emerging of Overcoming Resistance through Tsai Ming-Liang's Creative Circumstances
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| 作者 |
陳莘(Chen, Hsin)
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| 中文摘要 |
怎麼談論蔡明亮的影像創作，長久以來是個棘手問題，「緩慢電影」是否就是最佳詮釋，用來闡述其時間特質的德勒茲（Gilles Deleuze）影像論述能否逼近核心，為本文所質疑。因為針對他固定選用李康生長達30年的創作習性，或是與演員特殊的共生關係是被忽略的。本文將研究範圍從完成的作品擴展到創作期間的處境，以「法」與「物」共生的現象來檢視阻礙其影像浮現的力量。為探討李康生的身體與蔡明亮影像之間的物質如何流通，採用拉岡（Jacques Lacan）自我與他者的觀察視角來切入，以「雙錐圖示」來推演發生其中的主體流變現象。最後發現，當蔡明亮試圖透過他人一窺原欲物的影像時，此主體將經歷被吞沒消失的時刻，它不是一個彼此綿延的流暢狀態，而是面臨巨大的阻力與受苦的狀態。
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| 英文摘要 |
How to talk about Tsai Ming-Liang’s image creation has long been a problem difficult to tackle. Whether “slow films” is the best interpretation, and whether the Deleuze’s concept of “image” used to elaborate its time quality can approximate the core is questioned in this paper. Since with it as the target, the fixed selection of Li Kang-Sheng’s 30-year creative habit or the special symbiotic relationship between the author and the actor is neglected. This paper extends the research scope to include not only the completed works but also the circumstances of their creation. Through the symbiotic phenomenon of “law” and “das Ding”, the forces hindering the emergence of images are examined. In order to explore the flow between Li Kang-Sheng’s body and Tsai Ming-Liang’s im¬age, this paper adopts Lacan’s observational perspectives of the ego and the other, using the “double-cone icon” to analyse? the phenomenon of subjective rheology it exempli¬fies. Finally, it was discovered that when Tsai Ming-Liang attempted to peek into the das Ding image through “the other”, the subject experienced the moment of being engulfed and vanishing. It was not a smooth, continuous state but a state of enormous resistance and suffering.
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| 頁次 |
133-171
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| 關鍵詞 |
物
、絕爽
、影像
、蔡明亮
、The Thing (Das Ding)
、jouissance
、image
、Tsai Ming-liang
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| 卷期 |
39
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| 日期 |
202007
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| 刊名 |
藝術評論
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| 出版單位 |
國立臺北藝術大學
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| DOI |
10.3966/101562402020070039004
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