英文摘要 |
Attentive to the importance of temporal elements in the production and reception of cinema, this paper studies Pedro Almodóvar’s All about My Mother (1999) as it is made up of moving images to be perceived in and through time. First, by clarifying the difference between a film’s “moving” power and the traditional visual pleasure brought about by classic narrative cinema, I investigate how Almodóvar’s time-images deconstruct screen personages into disorganized and exchangeable organs, cells, and spectrums. I then take the film’s rendition of the “mother” image as an example to illustrate, by way of an intertextual reading of All about My Mother and Julia Kristeva’s “Stabat Mater” (1983), how Almodóvar has put the Catholic conception of Virgin Mary into signifying and imaginary deferrals. More precisely, created alongside many other popular efforts to “flesh out” the saint-like image of Virgin Mary of “neither sex nor death,” All about My Mother has extended the role of mother from mater dolorosa to “becoming-real woman,” the latter an idea derived from Gilles Deleuze’s insights on “becoming” and Jacques Lacan’s theory on “the real.” Instead of creating a singular maternal mirror ideal on the screen, All about My Mother ushers in the temporal flows and molecular becoming of mothers and women, indeed pushing our understanding of self and desire beyond the bounds of reality to border upon the emergence of the Lacanian “real.” |