本論文分析蔡明亮《不散》(Goodbye, Dragon Inn)中的第25個鏡頭到第39個鏡頭,總共15個鏡頭作為影片分析的對象,藉此論證這15個鏡頭所開創新的電影蒙太奇的思維。本論文從過往電影研究中攝影機的30角度拍攝規則、正反拍,平行剪接和交叉剪接的方式,所形成兩個異質系列的剪接型式,以科學方法來逐一檢視它們的差異,加以釐清並論證,在《不散》中的這15個鏡頭,與過往的電影剪接形式上的根本差異,以及美學上的不同,證明它們的特殊性。筆者從維托夫(Dziga Vertov)的「間隙蒙太奇」(Theory of Intervals)電影理論中,去接近蔡明亮這段影片的剪接思維的可能性,找出它們彼此互相呼應的精神。本文再從羅蘭.巴特(Roland Barthes)對於晦義影像(l'obtus)的思考,並且提出晦義蒙太奇的可能。最後,筆者從迪迪.于貝爾曼(Georges Didi-Huberman)探討見證的思維,及阿岡本(Giorgio Agamben)的黑暗邊緣(Dark Margin)的想法,作為影片分析研究的方法,來分析蔡明亮《不散》中此一特殊的蒙太奇剪接思考,以及這15個鏡頭所帶來的新可能,與這15個蒙太奇對於台灣電影站在電影院黑暗邊緣處的特殊見證。
This paper analyzes the 25th shot to the 39th shot in Tsai Ming-liang's Goodbye, Dragon Inn. By using these 15 shots as case study, this paper aims to argue that in Goodbye, Dragon Inn, Tsai intends to create a new possibility in cinematic editing. Borrowing from Dziga Vertov's concept of theory of intervals and Roland Barthes's thinking of sens obtus, in this paper I try to connect the similarities and differences in various fundamental editing and montage principles, in order to develop a new possible path toward the concept of "obtuse montage". And finally, I analyze these 15 shots by adopting Georges Didi-Huberman and Giorgio Agamben's ways of thinking, and reflecting on what these 15 shots in Goodbye, Dragon Inn could provide in montage theory and cinematic aesthetics in future film studies.