藝術學研究

《藝術學研究》第十五期（JOURNAL OF ART STUDIES 15）

曾少千

2014年12月

目次
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學術論文

3 德萊葉的「白」──從顏色作為減法影像

到至上主義繪畫之異度空間

李佩盈

31 分析王家衛的《花樣年華》

從第275個鏡頭到第298個鏡頭：

上下樓梯的女人、走廊與迷宮、電影與它的皺褶

劉永晧

77 讓子彈飛：論高重黎幻燈簡報電影

《人肉的滋味》之影像藝術實踐

孫松榮

115 3D電影中的攝影眼：

《少年pi的奇幻漂流》的「深度」探索

林克明

Contents
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Articles

3 Dreyer's “Whiteness” and Another Dimension:

From Color as Subtraction of Images to

Supremacist Paintings

Pei-Ying Lee

31 Analyzing Shot 275 to Shot 298 in Wong Kar-wai's

In the Mood for Love: The Ascending and Descending

Woman, Corridor and Labyrinth, and Cinema and Its

Folds

Yung-Hao Liu

77 Let the Bullets Fly:

The Artistic Practice of Kao Chung Li's

The Taste of Human Flesh

Song-Yong Sing

115 The Cinematographer's Eye in 3DCinema:

Exploring the “Depth” of Life of Pi

Ke-Ming Lin

德萊葉的「白」──從顏色作為減法影像到至上主義繪畫之異度空間

Dreyer's “Whiteness” and Another Dimension: From Color as Subtraction of Images to Supremacist Paintings

/ 李佩盈 Pei-Ying Lee

關鍵字：德萊葉、白色、影像遷徙、顏色自治、四度空間、至上主義、馬列維奇、減法影像 Dreyer, White, Migration of images, Autonomy of color, Fourth dimension, Suprematism, Malevich, Subtraction of image

◎ 點閱：84 ▼ 下載：59

檔案下載：第15期 01-李佩盈.pdf

德萊葉因其風格化的黑白影像經常被喻為畫家，然而在他的黑白影片中並非全然無色系，其中暗含著導演對彩色抽象空間的思考，事實上德萊葉式的白讓影片跳脫出黑白片的體系，並且達到愛森斯坦所提出的「顏色作為自治」表達的想法。藉由影像遷徙的觀看方式，本文試圖將德萊葉的白色影像連結到至上主義繪畫的第四度空間，《憤怒之日》裡油彩式的白、《吸血鬼》的霧白和《復活之日》的冷白，各式的白形成一種德萊葉特有的減法影像，並趨近馬列維奇《白底上的黑方塊》的極簡姿態，在此形體逃脫出再現空間，顏色自框中流洩出一股純粹質性的力量；而《貞德受難記》中特寫的白皙臉龐，更發散著如同《白底上的白方塊》的低限與無限概念。在不同質的框之間，不同的零度平面空間非時序地串聯出影像的多重樣貌。

Dreyer's cinematic vision is often regarded as painterly due to his stylistic black-and-white images. However, his black-and-white films are not exclusively achromatic; on the contrary, they are inhabited by one of his major concerns: an abstract color space. Indeed, Dreyer's use of white makes his black-and-white films more than merely black and white, as they seem achieve the ideal of "the autonomy of color" proposed by Eisenstein. In terms of the idea of a "migration of images," this essay intends to bridge two concepts: Dreyer's whiteness, and the Fourth dimension in supremacist paintings. White as that found in oil paintings in Day of Wrath, the foggy white of Vampyr, and the cold white of Ordet, such whiteness is the very essential force at work in the "Subtraction of images" – an approach peculiar to Dreyer, and which suggests that he approaches Malevich's minimalist gesture in Black Square. In Dreyer's cinema, the represented figures transcend the representational function and a pure quality, thus transcending and emerge out of the represented frames. Additionally, the whiteness of the faces in close-up in The Passion of Joan of Arc seems to espouse the concept of the absolute minimum and infinity espoused in Malevich's White on White. It seems likely from these heterogeneous "frames" that a "zero of form" phenomenon could come into being and, one hopes, give rise to a non-linear cluster of images.

分析王家衛的《花樣年華》從第275個鏡頭到第298個鏡頭：上下樓梯的女人、走廊與迷宮、電影與它的皺褶

Analyzing Shot 275 to Shot 298 in Wong Kar-wai's In the Mood for Love: The Ascending and Descending Woman, Corridor and Labyrinth, and Cinema and ItsFolds

/ 劉永晧 Yung-Hao Liu

關鍵字：皺褶、樓梯、運動、王家衛、德勒茲、柏格森、錯誤的剪接 The Fold (le pli), stairs (l'escalier), movement (mouvement), Wong Kar-wai, Deleuze, Bergson, continuity error (faux raccords)

◎ 點閱：140 ▼ 下載：118

檔案下載：第15期 02-劉永晧.pdf

本論文分析王家衛《花樣年華》中的一小片段，從第275個鏡頭到第298個鏡頭，總共24個鏡頭的電影文本分析。本論文從德勒茲的《皺褶》和柏格森的《思想與動力》的理論做為出發，來分析這一小段電影中快步的上下樓梯與在走廊中的疾步，因此，在樓梯的往上運動與往下運動，成了哲學思考與電影分析的挑戰。樓梯為一個具體的皺褶形象，王家衛把樓梯、走廊、運動、不同的電影技法與錯誤的電影剪接，將這些不同的形式與不同的思考，藉著錯誤的剪接來結合在一起，形塑他特有的電影皺褶。因此，這一小段影片，是王家衛在《花樣年華》中最大的意義陷阱，也挑戰著電影研究的實踐。

This paper aims to analyze a sequence, from shot 275 to shot 298, in Wong Kar-wai's In the Mood for Love. Starting from Deleuze's “the Fold” and Bergson's “Thought and Movement,” this paper tries to analyze scenes of rapid ascending and descending of stairs, and of trotting-through-corridors in this sequence, in which the movements up and down stairs challenge philosophical and cinematic analysis. In the sequence, Wong Kar-wai transforms the stairs, which can be seen as an embodiment of the fold, and combines them with the corridor, movement, and a variety of cinematic techniques through the use of a ‘continuity error' editing aesthetic to construct his very own cinematic fold. Therefore, this sequence becomes a trap for meaning, and a challenge to the practices associated with film studies.

讓子彈飛：論高重黎幻燈簡報電影《人肉的滋味》之影像藝術實踐

Let the Bullets Fly:The Artistic Practice of Kao Chung Li's The Taste of Human Flesh

/ 孫松榮 Song-Yong Sing

關鍵字：高重黎、幻燈簡報電影、人肉的滋味、影像藝術、分裂主體、聲音蒙太奇 Kao Chung Li, Slideshow cinema, The Taste of Human Flesh, Moving image art, Fragmented subject, Sonic montage

◎ 點閱：78 ▼ 下載：71

檔案下載：第15期 03-孫松榮.pdf

1980年代以降，臺灣當代影像藝術展現新貌，具有跨域影像表徵與精神的作品陸續湧現，高重黎的藝術實踐即為其中一個知名代表。高氏的創作橫跨雕塑、攝影、繪畫與實驗電影等多重藝術範式，自1990年代末迄今他發展了系列活動影像的創置與書寫，體現影像藝術的新視野與格局，幻燈簡報電影系列之《人肉的滋味》（2010-12）堪稱代表作之一。這件奠基於幻燈片型態作為藝術表現的作品，高重黎藉拼貼、裝配與蒙太奇的手法辯證機器影像與影像機器之理念，亦透過圖文、聲響與語聲的混融展開臺灣歷史與政治的思辨。值得強調的，《人肉的滋味》，除了是幻燈片秀，也同時是一部匯聚實驗電影與視覺藝術的風格、且結合批判與反思的紀錄影片。兩相結合，藝術家宣告了一種擴延電影的影像藝術之誕生。

Since the 1980s, new trends have been making their marks on contemporary moving image arts in Taiwan. In acknowledging this paradigm shift, many artists have begun to employ cross-disciplinary approaches in their practices. Kao Chung Li, whose works frequently obscure traditional distinctions between sculpture, photography, painting and experimental films, is one of the most notable artists from this scene. His writings and works on moving images continually encapsulate this ever-changing complexity of expression. The aim of this paper is to analyze his slideshow-based The Taste of Human Flesh (2010-12). Tactfully combining the techniques of collage, assemblage and photomontage, this work deals with the delicate relations between mechanically produced images and image-producing machines. It also addresses Taiwan's historical and political development through texts, pictures, sounds and narratives. In short, The Taste of Human Flesh should be regarded as a hybrid of slideshow, experimental film, visual art, and documentary: a new art form that hails from cinema.

3D電影中的攝影眼：《少年pi的奇幻漂流》的「深度」探索

The Cinematographer's Eye in 3DCinema: Exploring the “Depth” of Life of Pi

/ 林克明 Ke-Ming Lee

關鍵字：《少年PI的奇幻漂流》、數位3D電影、攝影眼、真實、深度 Life of Pi, digital 3D cinema, cinematographer's eye, reality, depth

◎ 點閱：75 ▼ 下載：54

檔案下載：第15期 04-林克明.pdf

《少年PI的奇幻漂流》的數位3D攝影，在2013年奧斯卡金像獎獲得「最佳攝影」的獎項。然而，攝影師杜可風卻在接受Blouin Artinfo的專訪中指出，《少年PI》的獲獎是「對攝影極度的侮辱」。杜可風的批評，主要是他認為在《少年PI》中多數畫面都是以電腦控制的方式生產，而非由攝影師以攝影機來生產影像。但是更深層地思考，《少年PI》的獲獎以及杜可風的批評，意味著從攝影師的角度出發一種電影視覺的轉向。因此本文嘗試以《少年PI》作為一種影像製作概念上的分界進行提問：在《少年PI》之前，攝影師眼中的電影是什麼？在《少年PI》中，數位3D攝影這種新的製作方式又讓電影產生了何種改變？而透過《少年PI》，我們看到數位3D攝影，特別是它所具有的「深度」特質，又為電影視覺的發展指向何種可能的未來？

The digital 3D film, Life of Pi, won the Academy Award for Best Cinematography in 2013, but well-known cinematographer, Christopher Doyle, in an interview with BlouinArtinfo, thought the Oscar win for Life of Pi an insult to cinematography. Doyle's criticism stems from the fact that most shots in Life of Pi were accomplished under the control of a computer rather than a cinematographer. Upon further consideration, could not the film's award and Doyle's criticism be considered as marking a turning in the cinematography of contemporary film? With this question in mind, this paper intends to raise several questions with a view to positioning Life of Pi as a watershed in the conception of film production. Before Life of Pi, what was film in the eye of cinematographers? When the latest-generation 3D cinematography is utilized in Life of Pi, how does the new vision change how cinematographers make films? Finally, if Life of Pi is considered an exploration of how 3D technology, especially with regards to depth-of-field effects, changes the vision of film, what will the future 3D cinematography show us?