英文摘要 |
The contemporary cinematic landscape is changing vigorously in terms of its material/media development and means of presentation. Recently several modern and contemporary museums started to hold moving image exhibitions and to commission artists to create moving artworks. This trend has intriguing border-crossing implications. For example: Tsai Ming-liang’s Visage (2009), sponsored by the Louvre Museum, is the first film registered on the inventory of art collections. Tsai approaches this transnational project from three perspectives: (1) cinema as a form of memory, (2) Eastern/Western allusions, and (3) translingual practice. Visage therefore distinguishes itself from other artistic forms and defines itself as a filmic figural: a varying form of constant migration, and a process of everlasting becoming made possible by the interplay between painting and cinema. By mixing and reconfiguring various memories, cultures and languages, this museum-film not only revitalizes the historical and aesthetic heritage within the modern-contemporary cinemas but invents an impure vision blending the Eastern/Western audiovisual and cultural conventions and capable of constructing the cinema’s past and future. It transcends the Chinese-Language film category, and creates a field of trans-imageness in which several “trans-” discourses converge—transcultural icon, trans-media and trans-artistic regime— and where several energies emerge—speciality, plasticity, heterogeneity, and generativity. |