- 學位論文
閱讀時光: 楊德昌的恐怖份子
Reading Time in Edward Yang's The Terrorirzers
摘要
本文旨在閱讀楊德昌的恐怖份子，詹明信於"重繪臺北新圖像"中將此片歸類為第三世界的電影，閱讀其所蘊含的第三世界國族寓言。為跳脫詹明信以國族寓言來闡釋第三世界文本的解讀性，本文將《恐》片視為一個文本，旨在探究閱讀，以其敘事和電影美學，探討其閱讀的可能性和解析閱讀行為如何影響主體。電影的結尾脫離了因果的順序，呈現非線性的時間，凸顯時間的意象，因此閱讀"時間"成為本文的主要課題。此脫離線性時間軸的呈現，突破僵化的思想模式，賦予此片可無限闡釋和創造的空間，本文援引德勒茲的對於時間的敞開性與藝術之間的關連，探討小說、攝影和電影於《恐》片中的藝術性。
並列摘要
Most of the critics of Edward Yang's The Terrorizers refer to Jameson’s influential essay "Remapping Taipei" (1992). Jameson describes the theme of the film as "archaic modernity" and considers it as "residual modernism" (121). He takes The Terrorizers as a modernist and postmodernist text, which could be used to understand the features of Third-World cinema. Jameson takes Yang's film as a Third-World text which could be read as a "national allegory". However, while Jameson categorizes the film and generalizes what Third-World cinema has in common, it raises a question: what else can we see in the film besides the way that he interprets it? By engaging with Jameson, this thesis takes The Terrorizers as a text about "reading" and explores different ways of interpreting The Terrorizers. The issues include the politics of reading, the concept of time and the representation of space in the film. Reading is what the protagonists like the photographer's girlfriend, Chou's lover and Li-Chung do in the film. Reading time means time as the subject of reading as well as the time for reading. The double endings of the film provide a platform for various ways to read and interpret the film. The two incoherent endings subvert the traditional idea of narrative that follows the concept of linear time. This subversion suggests that it is not necessary to take time as chronological and linear. Time might be in a multiple forms, such as parallel or divergent. The subversive notion of time unravels any concept such as ideology, history or capitalism, which wants continuity and stability that homogenous linear time sides with. This liberation will bring something new and innovated. Hence, time can be seen as a concept of creation. In The Terrorizers, we can always see time. By following Deleuzian concept of the relation between time and art, this thesis explores what art is through a close reading of The Terrorizers and the film's representations of time in its self-referential images of artistic works including novels, photography and cinema.