近幾年來，西方的當代藝術領域出現了一種非常新穎的現象，即是美術館透過策展人規劃或主動邀請導演的方式，將電影帶入了展覽空間中。他們切割影片的構成元素，將之蒙太奇化，並以懸掛及多重投映等方式來展示運動音像。美術館不再是提供擺放與陳列靜態藝術品的展覽空間，經由展覽電影的行動，它變成了一座與觀眾產生互動關係的思想場域。
電影與美術館的互動，其來有自。從 1930 年代紐約現代美術館積極典藏影片，到爾後美術館成為影片敘境中的所述世界，都闡明了雙方微妙的歷史與美學關係。尤其美術館的「電影展覽」，更顯示了美術館展示與典藏影片所帶出一個有待理論化的電影課題：作為可觸的影片，如何在被展示與典藏的同時，促使美術館對之進行另種電影（理論）史的書寫。「電影展覽」不再是依照原來影史學家的觀點思考電影，而是以影音自身的放映形式來留存、銘刻及展示電影（理論）史。再者，這亦涉及到作為一種殊異性與差異性的藝術形式的電影如何被美術館呈現，及它和其他藝術之間在展示時所形構出的形象關係之問題。這一前一後的問題意識，遂構成了本文在總體思索美術館與電影互動關係的「客體性」與「主體性」之理論面向，及美術館藉由創作者與策展人的「電影展覽」所積極體現出來的詮釋意圖與操作行動之實踐層次。
電影、影片、美術館、投映、展示、形象動力、當代性
In the recent couple of years, a brand new phenomenon has appeared in the domain of contemporary western arts. Art Museums, through planning or actively inviting film directors, have brought films into their own exhibition halls. They separate constituents of the films, and with montage techniques, display dynamic sounds and images by "suspension" or multiple projections. Thus, instead of providing exhibition halls for placing and exhibiting static art works, the art museums, through actions of showing films, have become a revue of contemplation for the articulation with the audiences.
Articulation between cinema and the art museum began in the 1930's with the active film collation activities of the New York Modern Art Museum, after that, the art museum has become the world film describe; these explain their subtle historic and aesthetic relationship. And the 'cinematic exposition' of the art museum especially reveals a cinematic topic that needs to be theorized—a topic brought about by art museum exhibition and film collection: As tangible films, how to make art museum write an alternative kind of cinematic theories at the same time of their exhibition and collection. 'Cinema exposition' no longer contemplates films from the original perspective of cinema historians. Instead, it preserves, inscribes, and displays the theoretic cinema history in the form of the display of sounds and images themselves. Furthermore, this in-values the issue of how art museum present film as special and differential art form and its relationship with other forms of arts established during the exhibition. The idea of this former and later issue thus constitutes, the theoretical aspect of this essay in its overall contemplation of the 'objectivity' and 'subjectivity' of the articulation between art museums and the cinema, as well as the practical level of interpretation intention and operations actively expressed by the museum through the 'cinema exposition' of creative artistes and exhibition planners.
cinema, film, museum, projection, image momentum, contemporaneity
