台北慢動作：身體－城市的時間顯微

Taipei in Slow Motion: The Temporal Magnification of the Body-City

張小虹(Hsiao-Hung Chang)

《中外文學》 36卷2期 (2007/06) Pp. 121-154

https://doi.org/10.6637/CWLQ.2007.36(2).121-154

摘要

本篇論文所欲探討的「慢動作」電影，不是指透過拍攝與放映秒格數變化所產生影像移動速度的緩慢，而是以正常秒格數拍攝，也以正常秒格數放映，卻讓整體影像呈現出緩慢之感的電影。這種「慢動作」電影，不僅成為近十幾年來各大國際影展的大贏家，更被視為當代「新亞洲浪潮」的重要風格。而本篇論文正是要追問這種零動作、少對話、影像效果微微放慢的「慢動作」電影，究竟是如何產生的？其美學風格形式為何？其文化意識形態為何？此種「慢動作」電影提供了何種不同的時間感性？此種「慢動作」電影發展出何種不同的身體姿勢與城市空間的連結方式？以及此種「慢動作」電影將如何幫助我們重新思考「全球在地化」下「台灣電影」或「新亞洲浪潮」的定位與被定位？本篇論文將以這一連串的提問為出發點，以蔡明亮的電影文本為例，展開初步的理論思考與歷史觀察，看一看向來最被抨擊片子冗長緩慢的蔡明亮，如何以低限的情節對白，低限的場景調度，慢兩拍的身體動作，不會動的攝影機與不剪輯的長拍鏡頭，讓台北「身體－城市」成為「純粹的視聽情境」，讓「真實時間」、「真實身體」與「真實空間」成為「時延」的可能。

關鍵字

慢動作 ； 蔡明亮 ； 德勒茲 ； 運動－影像 ； 時間－影像 ； 時延

並列摘要

The ＂slow motion＂ film discussed in this paper refers not to the special effects created by the manipulation of different shooting and screening speeds, but to the film permeated largely with an aura of slowness. This kind of ＂slow motion＂ film has not only become the prizewinner of major international film festivals, but also been regarded as one of the representative styles of the New Asia Wave. Thus, the major concern of this paper is to explore this ＂slow motion＂ film of zero action, minimum dialogue and lagging visual images. How could this ＂slow motion＂ film be produced? What would be its aesthetic style and its cultural ideology? What kind of temporal sensibility would it arouse? What connections would it develop between different bodily gestures and urban spaces? And, to what extent could this ＂slow motion＂ film help us to understand the positioning and re-positioning of ＂Taiwan Cinema＂ and ＂New Asia Wave＂ in the era of glocalization? This paper will take these questions as points of departure to explore the possible theorization of ＂slow motion＂ as the (re)presentation of the real on the one hand and its historical and ideological critique on the other. The films by Taiwan director Tsai Ming-liang will serve as the major text to foreground how the successful use of the minimum plot, dialogue, and mise-en-scène, the sluggish body movement, the motionless camera and the uncut long take helps to create the body-city of Taipei as the ＂pure optical and sound situation,＂ to make possible the real time, real body and real space as the ＂slow motion＂ of the durée on the screen.

並列關鍵字

slow motion ； Tsai Ming-liang ； Gilles Deleuze ； movement-image ； time-image ； durée