建築作為串連影像裝置與電影美學的關鍵：以蔡明亮的作品為例

Abstract

Tsai Ming-liang's film insta llations possess an important role in Ta iwanese contemporary art, especially in the area of film and video art, for his observations that architecture is a key in connecting film aesthetics and film installation. While western artists have developed diverse strategies to explore the affinity between film installation and architecture, Taiwanese artists have not yet responded to this aesthetic breakthrough. As a filmmaker who has always been concerned with urban environments, Tsai takes an architectural approach in his film installations and thus creates a relatively more dynamic relationship between images, spaces and spectators when compared to other works of film and video art in Taiwan. This essay will first examine his recent works It's a Dream (2007) and An Erotic Space (2007-2010) to describe his concerns for architectural spaces in film installations and how his concept of film and video art responds to his film aesthetics. In later sections, the essay will look at his latest work The Theater in the Boiler Room (2011) to deepen the discourse of how architecture serves as the crucial element in connecting film installation and film aesthetics.