從分身到重複─黑澤清《分身》與高達的《新浪潮》

日本當代導演黑澤清的《分身》不僅僅是一部作為恐怖電影的類型片，它其實同時是一部具有電影史自覺意識的解構性影片。川崎公平的論文準確地區分了《分身》一片所呈現的三種分身局面，即「交替」、「並置」、「再度交替」，並指出在最後的局面中影片已經達到了難以區分origin/copy的「無根據的絕對分身」狀態。然而，同樣出現分身現象的高達電影《新浪潮》則完全呈現出別一種樣態。影片的前半部和後半部出現同樣的臺詞、場景，但每一次的再度出現都是在偏移的條件下實現，並且高達完全背離格里菲斯以來的經典電影鏡頭連接原理，也決然不同于愛森斯坦式的蒙太奇連接，而是在斷裂性剪輯的前提下，讓聲音、影像產生全面的偏移錯位，鏡頭之間的連接「相距遙遠，但同時又是正確的」。其結果，誠如德勒茲在《電影2》裡指出的，影片的眾多影像斷片以「和」的方法連接起來，顯然這已然是根莖（rhizome）思維。然而不僅如此，本文進一步強調在「和」之上影像間的組合更是形成了獨特的紋樣和韻律，這是一種找不出平衡對稱的、類似沙漠上無數細沙的堆積所形成的紋樣，是一種互相之間絕不押韻的波浪之間所形成的韻律，我們可以給它一個詞：「重複」（repetition）。在這裡，我們可以看到現代電影的進化，如同作為材料科學研究對象之一的膠化體（gel），高達在這裡實踐的新的電影形態，或許可以稱之為gel-cinema，電影膠化體。可以說，黑澤清的「無根據的絕對分身」在高達這裡只是一個當然的起點，《新浪潮》所展開的是以差異（difference）為前提的「重複」主題，在其複雜而優美的變奏中，分身至多不過是一個表像而已，而影片中「一人雙角」的迷惑也必須如是被解讀。

關鍵字

分身；重複；偏移；根莖；紋樣／韻律；電影膠化體

並列摘要

”Doppelgänger”, made by Kiyoshi Kurosawa, one of Japan's most important contemporary filmmakers, can be seen as a destructive film, rather than just another horror movie. Kohei Kawasaki aptly points out that this film represents the double in three phases: 'replacement', 'juxtaposition' and 'replacement once again'. He observes that, by the third phase, the film has reached an 'absolute' state in which the double becomes a 'baseless' one and the distinction of origin/copy is no longer self-evident.However, Jean-Luc Godard's ”Nouvelle Vague”, which also deals with the double, gives us a different version. Almost the same lines or scenes appear frequently in both the first and second halves of the film, but they appear in the latter part as more or less shifted ones; for instance, a line is spoken in both parts, but in the latter part, one or a few extra sentences, are added, or the same set is shown twice but is shot at different angles. On the other hand, the combinations of images which violate both the continuity editing established by D. W. Griffith, and also Eisensteinian dialectical montage, are made in such a way as to separate images from each other. But as Godard says, when a connection is made between two images, they ought to be far apart from each other, while their connection ought to be correct. With this in mind, we should try to unearth the truth behind these disconnected and fragmented images. Indeed, Gilles Deleuze notes that 'it is the method of BETWEEN' and 'the method of AND', which can be considered as the same thought as ”rhizome”, but the images connected by AND also form some figures as a set, and rhyme with each other in a particular way. They are like the figures formed by grains of sand in the desert, or like the rhythm of waves which rhyme with each other, while never harmonizing. To describe this unique state we have already come across an appropriate term: repetition. Nouvelle Vague has demonstrated a kind of evolution in cinema, which, after gel in the material sciences, might be called ”gel-cinema”. Kiyoshi Kurosawa's ”Doppelgänger” barely, but admirably, arrived at 'the baseless doubt', but this is just the point of departure of Nouvelle Vague. As opposed to doubt, what Godard shows us is the subject of repetition involving difference. Accordingly, two men being played by one actor (Alain Delon), should also be read under the concept of repetition.