藝術學研究

《藝術學研究》第五期（NCU JOURNAL OF ART STUDIES 5）

吳方正

2009年12月

目次
────

1 不再無禮：克萊蒙 ‧ 維哥影片中的情感第三空間
劉紀雯

47 伊蘇瑪影像：《冰原快跑人》的因紐特運動
洪敏秀

79 《意外的春天》與《珈琲時光》的「套層秘藏」詩學
林文淇

111 水鐘：《你那邊幾點？》的液態憂鬱
白大維

電影觀察
131 艾拉妮斯 ‧ 奧伯莎溫的奧卡四部曲
葉玉慧

137 國家符號的消失？：當代加拿大電影的商業導向與全球化
劉紀雯

147 Pearl Lost in the Sea:Wan Jen, An Overlooked Director of the
Taiwan New Cinema
陳平浩

Contents
────
1 Rude No More: The Emotional Thirdspaces in Clement Virgo's
Post-Rude Films
Kate Liu
47 Isuma Image: The Inuit Movement in Atanarjuat The Fast Runner
Hung, Min-hsiou Rachel

79 The Poetics of Mise en Abyme in The Sweet Hereafter and
Cafe Lumiere
Wenchi Lin
111 Clepsydra: The Fluid Melancholy in Tsai Ming Liang's What
Time is it There?
David Barton

Issues and Perspectives
131 The Oka Quartet by Alanis Obomsawin
Florence Yap
137 Disappearance of National Signs?: Commercial Orientations
and Globalization of Contemporary Canadian Cinema
Kate Liu
147 Pearl Lost in the Sea:Wan Jen, An Overlooked Director of
the Taiwan New Cinema
Chen, Ping-hao

不再無禮：克萊蒙‧維哥影片中的情感第三空間

Rude No More: The Emotional Thirdspaces in Clement Virgo's Post-Rude Films

/ 劉紀雯 Kate Liu

關鍵字：多倫多、情感第三空間、克萊蒙‧維哥、情感片段、情緒提示、沾黏文化符號 Toronto, Emotional Thirdspace, Clement Virgo, Emotional Segments, Mood Cue and Sticky Cultural Signs

◎ 點閱：26 ▼ 下載：24

檔案下載：05-01-劉紀雯不再無禮.pdf

本文討論克萊蒙‧維哥在《無禮》之後兩部以多倫多為背景的影片：《小布朗的星球》和《愛情降臨》，主張使其電影空間產生多元意義的主要因素正是電影經由敘述手法、情感片段、情緒提示(mood cue)與文化符號所傳達的情感成分。這些傳達情感的手法不但呈現角色的回憶、經驗和抉擇以讓觀者產生同情，而且也建構出角色的情感第三空間－他們所拒絕或建構的「家」。而這些經由敘述者、顏色、音樂等情緒提示和鋼琴、跳舞、甘蔗田等文化符號所貫串連結的情感第三空間不但得以跨越現實與想像、現在與過去，讓藝術想像豐富現實空間，讓現在的自我面對過去創傷，而且也提供觀影者多義的詮釋空間。

This paper discusses two of the films by Clement Virgo after his famous but controversial Rude: The Planet of Junior Brown and Love Come Down. I argue that what makes the film meaningful is exactly the emotional elements conveyed through its narrative method, emotional segments, mood cue and sticky cultural signs. These emotional elements help convey the characters' memories, present their experiences and choices for the viewers to sympathize with. Moreover, they serve to construct the films' emotional third space: the “home” the characters reject and/or construct. Through the use of narrator, color, music, as well as cultural signs such as piano, dancing and sugarcane plantation, the emotional third spaces cross the boundaries between reality and imagination, present and past, allow the latter to enrich and/or explain the former, so that the characters can establish themselves again in these spaces, where the viewers also enjoy some hermeneutical freedom in interpreting the cultural signs.

伊蘇瑪影像：《冰原快跑人》的因紐特運動

/ 洪敏秀 Hung, Min-hsiou Rachel

關鍵字：因紐特人、《冰原快跑人》、潛在、思想的影像、自動機、電影、北極圈、加拿大、獨立製片 Inuit, Atanarjuat The Fast Runner, virtual, image of thought, automaton, cinema, Arctic, Canada, independent film

◎ 點閱：20 ▼ 下載：15

檔案下載：《藝術學研究》第五期_洪敏秀.pdf

加拿大因紐特族電影《冰原快跑人》以其團結社群的創造動力，啟動精神自動機器的反思動作，透過影像製作銜接當代加拿大文化的臨場與即時。本文探討伊蘇瑪製片公司憑藉其反思的動力，成為凝聚社群的場域，更運用攝影技術銜接數位媒體和口述傳統，彙整了看似矛盾的時空。《冰原快跑人》從原先是為了服務家鄉社群而誕生的製作，進而要求觀眾思考北極圈影像，有策略地創造出因紐特族內與族外之間向來欠缺的溝通。本文從影片的傳奇劇情、呈現結構和數位技術三者的關係，分析因紐特自我影像製作的創造力。《冰原快跑人》的貢獻不只是抵制因紐特與加拿大政府兩者間的殖民糾纏，觀看或參與《冰原快跑人》的製作過程也不僅重新介入或改寫加拿大的後殖民空間，而且藉由快跑人的運動影像，本片跨越了過去族裔再現時所出現的去脈絡情況，使原本瀕臨死亡、破敗的北方在電影空間轉變為思考因紐特的潛在情境。

Atanarjuat The Fast Runner (2001), the first independent Inuit film by Igloolik Isuma Productions, images the here and now of Canada, while propelling the spiritual automaton of itself-thinking-itself that arises from the force of creation within Inuit communities. This article foregrounds the image of thought operating in communal creative processes to argue that cinematic technology, as a circuit that strings together digital media and oral tradition, reframes the drastic change of time and space in the film. It draws upon relations among legendary storyline, structure of presence, and digital technology to access the creation of Inuit self-filmmaking. Atanarjuat The Fast Runner serves Inuit home communities, but it also directs all viewers to think upon images of the Arctic; in doing so, the film strategically communicates the incommensurable relation between Inuit and non-Inuit people. Atanarjuat The Fast Runner may also contribute to resisting colonial entanglement between the Inuit and the Canadian government, in that producing the film, or even viewing it, entails more than reassessing postcolonial space. Building upon an argument that the movement-image of Atanarjuat offers a medium to get beyond de-contextualization in representing ethnic groups, this essay posits that the endangered, decaying North in the cinematic landscape of the film gives way to the virtual of thinking the Inuit.

《意外的春天》與《珈琲時光》的「套層密藏」詩學

The Poetics of Mise en Abyme in The Sweet Hereafter and Cafe Lumiere

/ 林文淇 Wenchi Lin

關鍵字：套層密藏、艾騰‧伊格言、侯孝賢、《意外的春天》、《珈琲時光》、互文性 Mise en abyme; Atom Egoyan, Hou Hsiao-hsien, The Spring Hereafter; Cafe Lumiere; Intertextuality.

◎ 點閱：22 ▼ 下載：30

檔案下載：05-03-林文淇意外的春天.pdf

艾騰‧伊格言與侯孝賢是加拿大與台灣近二十年極具代表性的國際知名導演，兩人的電影有不少共同的特色：同樣在八○年代嶄現頭角，兩人的影片均高度重視電影形式，而且關切國內重要的社會與文化議題。我們如果仔細檢視侯孝賢與伊格言兩人的電影詩學，可以發現在兩人截至目前為止的後期電影作品中越來越偏好一個共同的敘事手法：「套層密藏」(mise en abyme)。「套層密藏」作為敘事手法的概念最早是由法國文學家安得烈‧紀德(Andre Gide)在1893年的一篇日記中首次提及，但由於日記內容實在太簡短，加上他在提到幾個藝術與文學的實例時又對自己的想法提出質疑，因此導致後人對於這個概念提出的看法都不盡相同。「套層密藏」最重要的研究學者路西昂‧達倫巴(Lucien Dallenbach)在他的《文本裡的鏡子》一書中將「套層密藏」基本上定義為「鏡子」。本文分析伊格言的《意外的春天》與侯孝賢的《珈琲時光》(Cafe Lumiere, 2004)這兩部電影中的「套層密藏」手法，尤其是在電影中嵌入另一個故事相似的文學作品，指出其不僅是達倫巴對「套層密藏」的定義中的類似鏡子的「重複」，而是進一步凸顯兩個文本之間多層次的動態互動關係。本文認為這兩部電影在電影裡置入的文本不只是封閉式的內在映射，而是更複雜的「互文」，在兩個文本的相互映射中為電影輻射出更豐富的意義，同時也對引用的文本提出新的閱讀觀點。

Canadian director Atom Egoyan and Taiwanese director Hou Hsiao-hsien share many similarities. They both began to attract international attention in the early eighties with highly self-conscious films that are deeply concerned with domestic social and cultural issues. A close inspection of their films will reveal another similarity in their film poetics, that is, the adoption of the literary technique of mise en abyme in their film narratives. The term of Mise en abyme is proposed by Gide in 1893 to denote a narrative text that contains a similar segment in it. Due to the brevity of Gide's explanation and certain contradictions in the examples he provides, the term has not been developed into a full-fledged theory until Lucien Dallenbach defines it as a mirror in the text in his book. This article analyses the narrative structure of Egoyan's The Sweet Hereafter (1995) and Hou Hsiao-hsien's Cafe Lumiere to argue that the practice of mise en abyme in both films involves aggressive strategies of intertextuality to generate complex film meanings.

水鐘：《你那邊幾點？》的液態憂鬱

Clepsydra: The Fluid Melancholy in Tsai Ming Liang's What Time is it There?

/ 白大維 David Barton

關鍵字：蔡明亮、阿岡本、憂鬱、異化、法台文化相互影響 Tsai Ming Liang, Agamben, melancholy, alienation, French/Taiwanese cultural interplay

◎ 點閱：29 ▼ 下載：28

檔案下載：05-04-白大維水鐘.pdf

此篇論文的標題「clepsydra」所指的是水鐘。我在文中的論點為，蔡明亮電影《你那邊幾點？》全片由兩種不同的時間狀態貫穿而成，其一為流動的時間，以電影裡隨處可見的流水作為象徵，另一則是靜止的時間狀態，作為象徵的是片中亦不斷強調突顯的數位時間。就台灣的脈絡而言，水鐘與數位時間所形成的對比，癥候式地再現了台灣作為阿岡本所稱的「例外狀態」(a state of exception)特殊的歷史經驗。蔡明亮的這部電影於父喪的影響之下拍攝而成，片中在模糊的時間中界地帶搬演著此一喪父的主題，在那兒靜止的時間與流動的時間衝突、撞擊出如夢境一般的場景，夢境裡生命之水與死亡之泉交融匯流。

Clepsydra, my title for this submission, refers to the water clock. I argue in my paper that there are two states of time running through Tsai Ming Liang's movie, What Time is it There, a fluid state symbolized by the prevalence of water in the movie and a static state, symbolized by digital time, also highlighted in the movie: the clepsydra versus digital time in Taiwan is a symptom of Taiwan's particular historical experience of being a state of exception, as Giorgio Agamben would have it. Tsai Ming Liang's movie is filmed under the influence of the deaths of fathers: this death of the father theme is played out in a time of limbo, where static time and fluid time clash in a dream scenario of the water of life meeting and mingling with the water of death.