這次他開始旅行了：侯孝賢《珈琲時光》的陰性轉向

This Time He Travels: Café Lumière and Hou Hsiao-Hsien's Feminine Turn

鄧紹宏(Shao-Hung Teng)

《文化越界》 2卷1期 (2015/03) Pp. 135-160

https://doi.org/10.30405/CCS.201503_2(1).0006

摘要

這篇論文嘗試從旅行的視角，探視侯孝賢《珈琲時光》（Café Lumière, 2003）中的陰性轉向。論文透過交通工具（火車／電車）、女性及歷史三個面向，說明侯孝賢如何在旅行的異文化接觸中，開放出不同於過往設定在台北的當代片對於女性角色的呈現與想像，並轉而將當代都會配置為一無人稱母體，將日常事物收納在湧現與生發的動態流變中。我將討論分為四部分，第一部分簡要說明侯孝賢當代片所呈現的困頓與脫逃衝動；第二部分聚焦素有侯氏電影簽名之稱的「火車」，配合與都市、旅行及電影史的關聯，探討此交通工具在《珈琲時光》中的轉化。第三部分說明《珈琲時光》中女性形象的串連及轉變；第四部分取徑／鏡德勒茲（Gilles Deleuze）的影像哲學，思考《珈琲時光》以母性／母體為晶種而生發的影像能量。

關鍵字

侯孝賢 ； 《珈琲時光》 ； 旅行 ； 火車／電車 ； 母體 ； 晶體─影像

並列摘要

This paper studies Hou Hsiao-hsien's feminine turn in Café Lumière (2003) through the filter of travel. By way of analyzing the train/tram, female characters, and history in the film, the paper traces how Hou's contact with a foreign culture brings forth an innovative imagination of female characters different from that of his earlier works set in urban Taiwan. The experience enables Hou to characterize the city as a non-personal matrix, folding everyday events into ceaseless emergence, contingency and becoming. The first part of the paper illustrates the dynamic of entrapment and escape in Hou's contemporary urban films. The second part posits Hou's signatural train imagery in relation to the city, travel and film history and discusses its transformation in Café Lumière. While the third part highlights the film's unique deployment of a constellation of females, the final part adopts Gilles Deleuze's image philosophy to catalyze a crystal-image that condenses and reflects multiple sheets of female/feminine experiences in everyday city life.

並列關鍵字

Hou Hsiao-hsien ； Café Lumière ； travel ； train/tram ； matrix ； crystal-image