英文摘要 |
The focus of this paper is to examine Tsai Ming-Liang’s cinematic creation of different kinds of time/space that challenges the capitalist model of time-space compression and global homogenization. By analyzing The Hole and What Time Is It There, I aim to show that Tsai is concerned with amplifying the presence of the “now” and making the present “habitable” by re-imagining what counts as past and future, here and there. Recalling Michel de Certeau’s discussion of the everyday, we see that the everyday is not simply an unproblematic and self-evident grounding for experience; instead, it is haunted by implicit “others.” This entails seeing the subject of everyday life as a volatile becoming, the subject who is not self-present. This paper argues that Tsai Ming-Liang still looks for myth in today’s disequilibrium, that his alternative cinematic narrative gestures toward an impulse to “re-enchant” the everyday banal in the age of globalization. By redistributing the existing space or by inserting a certain play (which usually entails temporality) into the order of the everyday, Tsai, particularly in The Hole and What Time Is It There, creates a space for maneuvers and for utopian points of reference. |