擴延地景的電影邊界：論蔡明亮從〈不散〉至影像裝置的非／藝術性

Abstract

In Goodbye, Dragon Inn (2003), Tsai Ming-liang concocted a purely audiovisual moment of plasticity-monstration by means of a screen, which is suspended and shown from extreme angles, out of proportion, and even distorted. The film, often considered to be an elegy bemoaning the death of cinema, is thus endowed with other dimensions than merely nostalgia or homage. Using this method of "exhibiting the cinema," it thus reconsiders the apocalyptic message proposed by Susan Sontag in her essay "A Century of Cinema:""If cinephilia is dead, then the movies are dead too." In other words, after Goodbye, Dragon Inn, Tsai Ming-liang, whose identity oscillates constantly between that of a filmmaker and that of a contemporary artist, continues consciously to explore the various issues concerning the death of cinema in the postmedium age. For example, from his two versions of It's a Dream (2007) (both a threeminute short film at the Cannes Film Festival and an installation work at the Venice Biennale) to his film installations Erotic Space II (2007), Moonlight on the River (2010), and to The Theater in the Boiler Room (2011), his contributions grow to offer new life to the art of film and also opens up issues such as"non/artisticity" and "crossmediality" in contemporary Chinese-language film studies.