慢慢地走在黑暗電影院的裡面:分析蔡明亮⋘不散⋙中的異質空間與電影的行徑路途

Ambling through the Darkness of Cinema: Analyzing the Heterotopias and Trajectory of Cinema in Tsai Ming-Liang's Goodbye Dragon Inn

本文從空間理論出發，分析蔡明亮的《不散》中的微型地理與電影的行徑路途，藉此分析電影中路徑的地理配置與敘述。在電影院裡陳湘琪兩次行走的不同路線與男同志的情慾動線，分別呈現了不同敘述、相異空間與路徑的邏輯與意義。在電影裡也呈現了男同志情慾空間的脆弱性，它是依附在黑暗當中，才得以建立。空間的建構與消除抹去也是蔡明亮在影片中，藉由路徑的行走與打掃來加以探討。蔡明亮在《不散》中藉著幾條不同的路徑交織成地下走莖式的結構，異質空間、電影敘述與地理的意義，是在人物與路徑的行走漫步當中生成與抹滅。

This essay based on space theory, aims to analyze both the microgeological and cinematic paths in Tsai Ming-liang's Goodbye Dragon Inn. The two marches routes of Chen Shiang-chyi and the gay desire of mapping respectively point to different narration, spaces, and meanings of logic. By using strategies of marching and cleaning on paths, Tsai Mingliang constructs and erases the space in his film, and moreover, interweaving a structure of rhizome, heterotopias, cinematic narration, and geographic meanings.