蔡明亮電影的廢墟、身體、與時間－影像：析論《天邊一朵雲》、《你那邊幾點》及《黑眼圈》

The Ruin, Body, and Time-Image in Tsai Ming-Liang’s Three Recent Films

本文藉著對蔡明亮三部影片《天邊一朵雲》（2003）、《你那邊幾點》（2001）以及《黑眼圈》（2006）的文本分析和德勒茲的身體電影和時間－－影像理論對話，針對影像、身體和時間之間的辯證與弔詭進行哲學和美學的思考，同時從電影操作實踐層面來探索身體電影和時間－－影像種種形式實驗的可能性。蔡明亮不僅在三部電影中呈現了角色／職業非演員那疲憊等待的日常身體之影像時延（以及「之前」「之後」），亦把日常身體和儀式身體相互迴入的晶體影像，嵌入觀視與慾望的迴圈以及電影類型的揉雜互文，並往復於非歷時性時間的時叉、積層、和延展，以探索身體、時間、影像之種種可能關係。《天邊》的「媒介－－身體」色情展演不僅是酷兒情慾操演，亦是把身體極度視聽情境化。「一場愛、三人做」以誇張怪誕的情境和影像構圖，透過一連串觀視、慾望、以及身體的置換，來諧仿親密關係之不可能以及身體的幻視／幻識情境性。《你那邊》則是藉著和楚浮電影的互文、去畛域的時間、以及身體和時間－－影像之相互轉喻，往復於時間的積層和延展之間、來連結台北－－巴黎的日常身體展演和蔡明亮－－楚浮的影像記憶。《黑眼圈》則是把吉隆坡的歌劇院去畛域變成任意空間，呈現「一張床、三人睡」那兼具時延與介面，既為整體又能獨立存在的酷兒動情－－影像，又經由小康和植物人的鏡淵關係與「我就是另一個人」的偽造敘事，來牽引那已然存在或發生於未然的世界－－記憶與動情力。

Focusing on Tsai Ming-liang’s films, Wayward Cloud (2003), What Time Is It There (2001), and I Don’t Want to Sleep Alone (2006), this essay enacts a dialogue between those films and Gilles Deleuze’s theories and methodology of “the cinema of the body” and “time-image” to undertake a metaphysical and aesthetic contemplation of the dialectical and paradoxical relationship between cinema, body, and time. In the three films, Tsai’s cinematic experiments include presenting the duree (and “before and after”) of the characters/nonprofessional actors’ everyday bodies through camera, superimposing the crystalline circuit between the everyday body and the ceremonial body and between the actual image and the virtual image with the voyeuristic gazedesire circuit, practicing cinematic intertextuality and hybridization of various film genres, and exploring non-chronological time and “Cronos,” opening up the infinite possibilities in exploring the relationship between the body, time, and cinema. In Wayward Cloud, the hyperbolic pornography of “media-body” not only enacts queer performativity, but also turns the body into the pure opsigns and sonsigns via a series of displacement and substitution of desire, gaze, and bodies, revealing the illusionary and phantasmatic situation of body. In What Time Is It There, with strategic deterritorialization of time and place and the metonymy between body-image and time-image, Tsai presents the Taipei-Paris everyday bodies and Tsai Ming-Liang-Francois Truffaut cinematic memory via the intertextuality between his and Truffaut’s films. In I Don’t Want to Sleep Alone, Tsai deterritorializes the ruin of an opera house in Kuala Lumpur, turning it to any-space-whatever to make palpable the complex entity of affection-images which serve as duree, interface, and trans-image in crystallizing the false narrative of “I is another” connected to the deja-la worldmemory and affect.