藝術學研究

《藝術學研究》第十九期（JOURNAL OF ART STUDIES 19）

曾少千

2016年12月

目次
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學術論文

001砂上樓閣──
1930年代臺灣獨立美術協會巡迴展與超現實繪畫之研究

蔡家丘

061 打造馬來亞：論馬來亞製片組的冷戰影像

許維賢

105 事件之後的當代跨域影像：
論陳界仁早期作品及《殘響世界》的概念生成與轉化

孫松榮

149 靈光，不靈光：數位媒介複製時代中的戲劇表演—
論「現場性」及「靈光」的消逝與轉化

蘇子中

Contents
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Articles

001 The House Built on Sand:
The Traveling Exhibition of the Independent Art Association and Surrealistic Art in Taiwan in the 1930s

Chia- Chiu Tsai

061 The Making of Malaya:
On the Malayan Film Unit's Cold War Films

Wai-Siam Hee

105 Post-Event Contemporary Transdisciplinary
Moving Images:
An Analysis of Chieh-Jen Chen's Earlier Works and
the Re/conceptualization of Realm of Reverberation

Song-Yong Sing

149 Aura or Without Aura:
The Dramatic Performance in the Age of
Digital and Mediatized Reproduction—
An Essay on the Disappearance and
Transformation of “Liveness” and “Aura”

Tsu-Chung Su

砂上樓閣──1930年代臺灣獨立美術協會巡迴展與超現實繪畫之研究

The House Built on Sand: The Traveling Exhibition of the Independent Art Association and Surrealistic Art in Taiwan in the 1930s

/ 蔡家丘 Chia- Chiu Tsai

關鍵字：獨立美術協會、新興洋畫會、超現實主義、超現實繪畫 the Independent Art Association, the Avant-garde Western Painting Association, Surrealism, Surrealistic Art

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檔案下載：第19期 01 蔡家丘〈砂上樓閣──1930年代臺灣獨立美術協會巡迴展與超現實繪畫之研究〉.pdf

關於戰前超現實繪畫於東亞接受與傳佈的議題，相較於中日韓學界的研究成果，臺灣於此方面的研究仍有待著手進行。本文首先考察 1930年代獨立美術協會與畫家來臺的始末與意義，指出超現實繪畫傳入臺灣的主要途徑。其次，探討臺灣美術界受此刺激下的迴響，新興洋畫會畫家等人描繪奇異的空間、毀壞的建築、空盪的街景，或是如貝殼、拼貼出的機械世界，使臺灣美術呈現多元豐富的意象。然而進入 1940 年代，畫家的努力與想像旋即如砂上樓閣般崩解流逝。

The development of the surrealistic art movement in East Asia is little acknowledged and woefully underexplored in Taiwan compared to the research done on this issue in Japan, Korea and China. This paper analyzes the traveling exhibition of the Independent Art Association in Taiwan in the 1930s, and expounds on the meaning of this movement, which should be seen as a step towards the acceptance of surrealism in East Asia during the 1930s. The paper will then present some of the responses from artists in Taiwan stimulated by this exhibition, as well as their creative works. The unexpected and absurd nature of their works -- whether they be collages showcasing the mechanical world, images of destroyed spaces, empty streets, or seashells to express something of the negative emotional impact of modern life -- enrich the variety of Taiwanese art. However, like a house built on sand, their fantastic endeavors soon disintegrated, leaving little behind after the 1940s.

打造馬來亞：論馬來亞製片組的冷戰影像

The Making of Malaya: On the Malayan Film Unit's Cold War Films

/ 許維賢 Wai-Siam Hee

關鍵字：馬來亞製片組、冷戰、新村、馬共、反共、華人認同 Malayan Film Unit, Cold War, New Villages, Malayan communists, Anti Communist, Chinese Identity

◎ 點閱：25 ▼ 下載：60

檔案下載：第19期 02 許維賢〈打造馬來亞：論馬來亞製片組的冷戰影像〉.pdf

馬來亞製片組是二戰後附屬於英殖民政府的影像機構，前後為英殖民政府和新馬（自治）政府拍攝大量的歷史和地理紀錄片，並通過多部宣傳片和劇情片的製作和拍攝，配上不同語言和華人方言的錄製和解說，大力灌輸英美強大的冷戰意識形態予馬來亞人民，並強制安排在馬來亞各大戲院放映這些影片，其終極目的即是要詢喚馬來亞各族人民對抗馬共，建構馬來亞認同。本論文結合英國電影機構、英國國家檔案館、帝國戰爭博物館、大英圖書館、新加坡國家檔案館和馬來西亞國家影片部的影片和冷戰檔案，以及 1950-60 年代英美電影雜誌和新馬中英報刊的報導，以馬來亞製片組生產的冷戰影像為例，探討冷戰時期的馬來亞新村華人和馬共如何在這些半寫實、半虛構的影像中再現。

The Malayan Film Unit, a film organization affiliated with the postwar British colonial government, produced a large number of historical and geographical documentaries in support of the British colonial regime, and the Singaporean and Malayan autonomous governments. The film unit also directed the production and filming of many propaganda films and feature films accompanied by recordings and commentaries in different languages and Chinese dialects. These films vigorously promoted Cold War ideology to the Malayan people, and all theatres in Malaya were compelled to screen these films. The ultimate goal of the Malayan Film Unit was to interpellate a Malayan identity in order to eradicate the threat posed by communist ideology. This paper considers films made by the Malayan Film Unit alongside Cold War archival materials gathered from The British Film Institute, The National Archives of UK, Imperial War Museums, The British Library, National Archives of Singapore and National Film Department of Malaysia, and reportage on the Malayan Film Unit in the 1950s-60s in U.S., U.K, and local newspapers in Chinese and English. It will explore how Chinese New Village settlers and Malayan communists were represented in semi-realistic/semi-fictional moving image s during the Cold War period.

事件之後的當代跨域影像：論陳界仁早期作品及《殘響世界》的概念生成與轉化

Post-Event Contemporary Transdisciplinary Moving Images: An Analysis of Chieh-Jen Chen's Earlier Works and the Re/conceptualization of Realm of Reverberation

/ 孫松榮 Song-Yong Sing

關鍵字：陳界仁、殘響世界、內在感受、後延、殘響、謠言電影 Chieh-Jen Chen, Realm of Reverberation, Visceral Feeling, Aftermath Effect, Reverberation, YaoYan Films

◎ 點閱：52 ▼ 下載：123

檔案下載：第19期 03 孫松榮〈事件之後的當代跨域影像：論陳界仁早期作品及《殘響世界》的概念生成與轉化〉.pdf

當代影像藝術發展趨勢，已衝破類別與範式的限制，挑戰了既有論述的框架。幾十年來，關於紀錄影片與當代藝術之間的關係，亦發生重大變化。從國外各大雙年展與文件展透過藝術家紀錄影片展現政治藝術的多元方式，即為實例。臺灣藝術家陳界仁的《殘響世界》（2014-16），可謂是一部藉由各種不同展映與演說形態，重新思辨歷經社運的樂生療養院的作品。《殘響世界》遊走於紀錄影片與當代藝術之間，藉由混融紀實與虛構、政治與詩意、歷史與想像敘述圍繞在樂生療養院的院民、志工、外配及幽靈政治犯的故事。值得注意的，與其認為它僅奠基於宏大敘事，不如可視為陳界仁總不忘以「內在感受」作為政治藝術的必要構成。本文擬從藝術家兩部早期作品《機能喪失第三號》（1983）與《閃光》（1984）論辯其影像藝術的感性基因，並以他在《凌遲考：一張歷史照片的迴音》（2002）中對於「後延」，乃至《殘響世界》中的「殘響」與「謠言電影」等核心概念的思索，視陳界仁重塑臺灣當代藝術的政治行動與另類紀錄影片形態的試驗，乃是一種當代跨域影像思想的強力展現。

Today, moving image arts are no longer defined by conventional classification and genre, nor are they bound by preexisting theoretical frameworks. In the past few decades, the relationship between documentary and contemporary art has also transformed significantly. Showing artists' documentaries has become commonplace for biennales keen on addressing diverse political viewpoints. An instance of such boundary-breaking work is Realm of Reverberation (2014-16) by Taiwanese artist Chieh-Jen Chen. Realm of Reverberation blends fact and fiction, politics and poetry, history and imagination to narrate a story on the patients, volunteers, immigrant brides, and the ghost of a prisoner of conscience in the Losheng Sanatorium. To provide a forum for public debate on the controversial conservation/demolition issue of the Loasheng Sanatorium, the screening of the work always includes speeches and related exhibitions. Nonetheless, Realm of Reverberation is not just a documentary with a grand narrative; it also displays how Chen's “visceral feeling” led him to engage in politically-themed art. This paper will examine the key concepts in Chen's works: The Sentimental Genes in Malfunctions No.3 (1983) and Flash (1984), the “aftermath effect” in Lingchi (2002), and the “reverberation” and “yaoyan films” in Realm of Reverberation, to argue that Chen's experiments on shaping political action through contemporary Taiwan art powerfully manifests the trend of trans-disciplinary moving images.

靈光，不靈光：數位媒介複製時代中的戲劇表演— 論「現場性」及「靈光」的消逝與轉化

Aura or Without Aura: The Dramatic Performance in the Age of Digital and Mediatized Reproduction— An Essay on the Disappearance and Transformation of “Liveness” and “Aura”

/ 蘇子中 Tsu-Chung Su

關鍵字：班雅明、靈光、現場性、戲劇表演、數位、媒介 Walter Benjamin, aura, liveness, dramatic performance, digital, media

◎ 點閱：59 ▼ 下載：99

檔案下載：第19期 04 蘇子中〈靈光，不靈光：數位媒介複製時代中的戲劇表演—論「現場性」及「靈光」的消逝與轉化〉.pdf

當戲劇表演遇上數位化媒介，所揭示的是一個戲劇表演數位化、媒介化及相關產品、製作與資料庫數位媒介化時代的來臨。搭上網際網路的順風車，這一波新浪潮波濤洶湧，再加上新一波理論思潮的推波助瀾，戲劇表演的數位媒介化勢不可擋。這些理論不但質疑「現場性」的神聖性，挑戰其主體性與主場優勢，還試圖撼動並翻轉其不可取代性，進一步前呼後擁地將數位化與媒介化的表演文本推上新霸主的地位，敦促我們去重新思索表演藝術的本質及其與眾多媒介的關係。本論文將以重新閱讀班雅明的經典文章〈機械複製時代中的藝術作品〉（1936）為引子，來討論戲劇表演數位化與媒介化後，「現場性」與「靈光」的處境——是預示兩者的消逝？還是兩者的轉化？亦或是這兩個概念的命運已衍生或催生出新的戲劇表演生產與欣賞方式，並宣告新表演藝術時代的到臨？本論文將參酌相關理論，針對以上提問進行辯證與深入的討論。

When drama encounters digital media, what is portended is the coming of an era in which dramatic performances and their archives are fast becoming digitalized and mediatized. Riding the wave of the cyberculture and aided by the new wave of theoretical thinking, the digital mediatization of dramatic performances has become an unstoppable trend. These theories not only question the sacred nature of “liveness” but also challenge its irreplaceable dominant status. In the meantime, they promote and celebrate the democratic nature of the digitalized and mediatized performance text, urging us to re-think the nature of performing arts and their ties to multimedia. This paper intends to revisit the seminal article—“The Work of Art in the Age of Mechanical Reproduction” (1936)—by Walter Benjamin and use it as a starting point to discuss the status of “liveness” and “aura” after the rise of the digital and cyber
culture. Does this new trend foretell the decline and the eventual disappearance of both notions? Or does it trigger new ways of production and appreciation and pronounce a new era of performing arts? This paper looks into and explores the above-mentioned questions by drawing on related theories.