影像與意像：拉岡的影像論與巴特的電影論

Image and Imago(superscript *): Lacan's Image Theory and Barthes's Film Theory

林克明(Ke-Min Lin)

《文化研究》 6期 (2008/03) Pp. 81-106

https://doi.org/10.6752/JCS.200803_(6).0005

摘要

意像是否等同於影像？如果不同，那麼相對於影像的意像又是什麼？從拉岡的心理分析出發，本文試圖釐清影像和意像的關係。所得的結果將與巴特的電影論相互辯證，以試圖藉此理解在電影場域裡觀影者的意像為何。本文最後將導入拉岡的風格論，嘗試了解作者如何透過影像影響電影意像的構成。

關鍵字

影像 ； 意像 ； 鏡像 ； 敞義 ； 風格

並列摘要

Is there any difference between image and imago? If the answer is ”yes”, what is imago compared with image? By means of Lacanian psychoanalysis, this paper seeks to clarify the term of imago and its relationship to image. The result will be examined by means of Barthes's film theory in order to explore what the imago in relation to film image is. Finally, a Lacanian approach of understanding style is applied to realize how the author (filmmaker), if he/she can, intervenes in the formation of the film imago.

並列關鍵字

image ； imago ； mirror image ； obtuse meaning ； style

參考文獻

Barthes, Roland.,Richard Howard. (translated)(1985).The Responsibility of Forms: Critical Essays on Music, Art, and Representation.New York:Hill and Wang.

Bazin, André.,Alain Piette(translated),Bert Cardullo,Bert Cardullo. (edited)(1997).Bazin at Work: Major Essays and Reviews from the Forties and Fifties.New York:Routledge.

Borch-Jacobsen, Mikkel.,Douglas Brick. (translated)(1991).Lacan: The Absolute Master.Stanford, California:Stanford University Press.

Buffon, Georges Louis Leclerc.(1917).Discours sur le style.Paris:Hachette.

Cervantes, Miguel de.,Tobias Smollett(translated),Tobias George Smollett.(2004).Don Quixote.New York:Barnes & Noble Press.