Title

邊緣的再現空間政治:電影如何再現寶藏巖之地方感

Translated Titles

The Politics of Representational Space on the Marginalities: How Films Represent Sense of Place in Treasure Hill

DOI

10.6161/jgs.201904_(92).0002

Authors

蔡幸娟(Sing-Jyuan Cai);林政逸(Cheng-Yi Lin)

Key Words

地方感 ; 寶藏巖 ; 再現空間 ; 電影 ; 邊緣 ; Sense of place ; Treasure Hill ; representational space ; firm ; marginalities

PublicationName

地理學報

Volume or Term/Year and Month of Publication

92期(2019 / 04 / 01)

Page #

31 - 54

Content Language

繁體中文

Chinese Abstract

寶藏巖作為緊鄰市中心的非正式聚落,已經藉由政府一系列之計劃介入,塑造為一處國際藝術村,並成為全球藝術城市之重要亮點。既有文獻多運用地方感分析,以理解都市環境轉型,但少有文獻運用電影分析手法解讀地方感,並揭露其再現空間政治。本研究目的係運用電影分析,以詮釋電影所再現寶藏巖之地方感,企圖回答寶藏巖在官方形塑國際藝術村下,電影是如何解讀寶藏巖之地方感?其地方感又如何透過電影文本,再現空間政治之意涵為何?為回答此議題,本文運用Lefebvre之空間生產理論,建立分析架構,並以寶藏巖為背景之《醉.生夢死》(張作驥2015)、《麵引子》(李祐寧2011)、《漂流天堂》(王俊雄2006)等電影為文本分析,分析三部電影情節∕人物∕語言∕影像∕鏡頭∕敘事等內容,據以詮釋寶藏巖之影像地方感,並揭露現實的寶藏巖及官方政策包裝間互賴及衝突之張力。本文提出電影詮釋地方感之三點結論:(一)三部電影挪用寶藏巖之實質環境,層疊出一種不同時空之邊緣地方感,電影文本所隱喻之邊緣性、發展差異及多元語言及族群混居等地方感,再現出一種非正式聚落之地方感。(二)對比官方主導影像所再現之國際藝術家群聚及其藝術氛圍,此三部電影不只形成一種差異化之空間再現,同時,也更深層地揭露出寶藏巖之再現空間政治,是一種互賴又互斥之張力;(三)透過電影文本分析,本文提供分析地方感之新取向,也提醒研究者反思官方的文化政策,不要忽略了政策計劃背後之替代效果。

English Abstract

Treasure Hill, as an urban informal village, has been transformed into an international artist village, which is formally constituted as a spotlight of global art city through state intervention. Although the sense of place is fundamental for the understanding of the urban transformation, less research given to the understanding of how films represent the sense of place, and how film analysis is the central lens to uncover the tensions and politics of representational space. This study aims to uncover the politics of representational space unfolded between the reality of the Treasure Hill and the romantic packaging of the governmental project narrative. This study draws on Henri Lefebvre's production of space to frames interpretative analysis on the three movies, "Thanatos, Drunk", "Four Hands", and "Drifting Paradise" A film analysis method is adopted to highlight the story/person/language/image/lens/narrative as analytic text, and produce three interpretative findings. First, the physical environment of Treasure Hill is commonly drawn as film scenes to constitute different spatial-temporal marginalities as the overlapped sense of place, which is represented in the three movies. These films represent the marginalities, differential development, and multi-subculture groups as the informal senses of the Treasure Hill village through the film context analysis. Second, comparison of the state-led international artist village project in Treasure Hill, these films not only manifest the differentalization on the representation of space and on representational space, but also reveal the politics of representational space as a mutually dependent and exclusive tension unfolded in the formalization process of informal Treasure Hill. Finally, this study elucidates the role of sense of place to rethink how the government should transform "The Treasure Hill", and to present the ignoring dimension of displacement effect behind the formalization of the informal Treasure Hill.

Topic Category 人文學 > 地理及區域研究