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「巴黎・德州」中 Travis、Jane 和 Hunter 的全家福快拍照
摘要
本文將「電影中的照片」獨立成一種特殊的文本類型，試圖從攝影本身的曖昧性質出發，闡釋文本意義的出席與缺席。研究文本來自德國導演文．溫德斯（Wim Wenders）在1983年拍攝的電影作品《巴黎．德州》（Paris,Texas）中的三組照片。班雅明堅稱電影使人們得以經歷意識的冒險之旅，然而也同時取代了觀者的思路；電影中的照片使變動的影像暫停，其與生俱來的「沈思性」為觀者帶來一個得以自主想像和思索的環境。《巴黎．德州》中的照片現身∕隱身於電影脈絡裡，為我們證明了創作者的、時間的、真相的以及想像的出席與缺席；電影本身因為照片的揭示更為完整，而電影中的照片亦因電影與攝影兩種形式上的互文關連，帶來了多重詮釋的可能。
關鍵詞
電影、攝影、出席、缺席、溫德斯
Abstract
In this study, "photographs in films" is seen as a unique type of text. By centering on the ambiguity of photography itself, the paper aims at discussing the presence and absence of meaning on the three sets of photographs in the film "Paris, Texas" by German director Wim Wenders from 1983. Walter Benjamin claims that films can lead the viewer into a conscious journey. However, it also dominates the viewer's train of thought. The photographs in films stop the continuously flowing images, and their meditative nature provides the viewer a space for imagination and contemplation. Their appearing and disappearing in the context of "Paris, Texas" bear witness to the presence and absence of the director, time, actual state of affairs, and imagination. The film has become more complete because of the discovery of the implicit meanings in the photographs. In addition, multiple interpretations become possible due to the constant dialogue between film and photography.
Keywords
film, photography, presence, absence, Wim Wenders
註釋
