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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/65264


    Title: 當代「鏡花緣」──蔡明亮電影《臉》的「哀悼日記」
    Authors: 巫冠蓉;WU,Guan Rung
    Contributors: 法國語文學系
    Keywords: 蔡明亮;《臉》;巴舍拉;;服喪;鏡花水月
    Date: 2014-07-29
    Issue Date: 2014-10-15 14:47:24 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 蔡明亮應法國羅浮宮之邀,在2009年完成了電影《臉》,是羅浮宮第一部視覺影像的典藏作品。《臉》是導演蔡明亮題獻給已故母親的作品,又同時是凝聚多張法國新浪潮導演楚浮(François Truffaut)經典電影演員面孔的致敬之作。蔡明亮藉《臉》將所愛置入永恆的藝術殿堂。《臉》片中以母親之死出發,圍繞於服喪、死亡、電影與人生的母題上發展。此外,導演還欲展現鏡花水月之意象。因此,本論文欲探究蔡明亮電影《臉》中之鏡花水月意象,並期待提供一個既私密又開放且富有活力的閱讀詮釋角度。
    本論文架構分為三大章:分別探討服喪服喪、死亡、電影與人生。第一章由巴舍拉(Gaston Bachelard)的水意象出發,我們從映像的翻轉、物質想像的雙重性和與其它自然物質如黑夜的結合來觀看渲染在影像中水的情感意象,此外,輔以空間詩學,對於過往家屋的幸福和此時失落的對比,來詮釋喪殤。最後再以巴舍拉水意象的兩個文化情結(奧菲莉亞情結和卡翁情結)來檢視影像中關於生死/死生的翻轉和影像中行動者的抗爭意識。
    繼探討關於生命延續意識萌生的第一章之後,論理成章地,第二章將談論死亡之後,將圍繞在肉身周邊探討。我們藉巴舍拉泥團(pâte)意象,來檢視肉身的揉捏行動。在揉捏行動中,同時可以察覺臉中肉身揉捏所產生的情感發酵,以及肉質活性的賦予。此外,還利用物質的流動性,來探討肉身臉與其時間性的延續轉讓。
    總結前兩章《臉》中對於生死一體兩面的態度和凝視。我們在第三章以巴舍拉對於納西斯(Nacisse)的自我凝視的意義翻轉,來談導演的創作行為和其作品呈現的積極態度。此外,連結前面談過的水質和土質意象,以巴舍拉的液晶之夢,來呈現導演的生命經驗和創作的結晶,最後以巴舍拉《空間詩學》裡所談的介殼之夢,來總結詮釋電影《臉》是導演生命的自我形塑呈現。
    ;Being the first audio-visual work of the Louvre, Face of Tsai Ming-Liang finally came out in 2009, which is not only a tribute of the Cinema New Wave (especially for the famous French director, François Truffaut), but also a dedicate for Tsai’s deceased mother. By his work Face, Tsai was attempting to lead all his beloved to the eternal Pantheon of art. Face is a film about mourning, death, cinema and life, in which Tsai tries to show an aesthetic image of “mirror, flower, water and moon”. Therefore, this research aims to explore the image of “mirror, flower, water and moon” and looks forward to provide different aspects full of dynamic.
    This analysis is divided into three chapters for themes: mourning, death, and cinema/life. First chapter is based on Bachelard’s theory which is about images of water. Via different regards on water reflects, ambivalence of material imagination and combinations with others materials like night or earth, we try to interpret the emotions behind the surface of images during mourning. Second chapter talks about death toward the staring of human corps. Still base on Bachelard’s theory, through combination of water and earth, we mean to check out the action of body’s modelling and its material dynamic. In Chapter III, according to Bachelard, we attempt to verify the relation between creator and creation and we would see how Tsai combined his life experience in his film work, Face.
    Appears in Collections:[法國語文研究所 ] 博碩士論文

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