從蔡明亮的創作境遇看克服阻力現身之影像

Discussion of the Deleuze Image Doesn’t to Coincide at the Creative Circumstances of Tsai Ming-Liang

怎麼談論蔡明亮的影像創作長久以來是個棘手問題，「緩慢電影」是否就是最佳詮釋，用來闡述其時間特質的德勒茲影像論述能否逼近核心為本文所質疑。因為針對他固定選用李康生長達三十年的創作習性，或是與演員特殊的共生關係是被忽略的。 本文將研究範圍從完成的作品擴展到創作期間的處境，以「法」與「物」共生的現象來檢視阻礙其影像浮現的力量。為探討李康生的身體與蔡明亮影像之間的物質如何流通，採用拉岡自我與他者的觀察視角來切入，以「雙錐圖示」來推演發生其中的主體流變現象。 最後發現當蔡明亮試圖通過他人一窺原欲物的影像時，此主體將經歷被吞沒消失的時刻，它不是一個彼此綿延的流暢狀態，而是面臨巨大的阻力與受苦的狀態。

 

How to talk about Tsai Ming-Liang’s image creation has long been a problem difficult to tackle. Whether “slow films” is the best interpretation, and whether the discussion on the Deleuze image used to elaborate its time quality can approximate the core is questioned in this paper. Since with it as the target, the fixed selection of Li Kang-Sheng’s 30-year creative habit or the special symbiotic relationship between the author and the actor is neglected. This paper extended the research scope from completed works to the circumstances during the creative period. Through the symbiotic phenomenon of “law” and “das Ding”, the force hindering the emergence of images was examined. In order to explore how substances flow between Li Kang-Sheng’s body and Tsai Ming-Liang’s image, this paper adopted Lacan’s ego and the other’s observational perspective to discuss, using the “double-cone icon” to deduce the phenomenon of subjective rheology occurring in it. Finally, it was discovered that when Tsai Ming-Liang attempted to peek into the das Ding image through “other”, the subject experienced the moment of being engulfed and vanished. It was not a smooth state that extended continuously but a state of enormous resistance and suffering.