情調、氛圍、空無：論《百花深處》中的無形媒介

Stimmung, Aura and Nothing: Intangible Media in 100 Flowers Hidden Deep

本文聚焦於情調、氛圍與空無的概念，探討其作為無形媒介的性質與存在議題。藉由閱讀海德格、班雅明以及拉岡，本文闡釋上述無形媒介所蘊涵的零度面向，據以分析陳凱歌的短片《百花深處》──特別是該片的喜劇主題以及山水動畫影音的美學效果，來演繹那個歷史上消失了的百花深處。就媒介化的意義而言，本文試圖論證，不論是海德格本體論的情調與班雅明美學的氛圍概念，均具備了類似拉岡精神分析中空無的作用與物質性，凸顯出不同於實體的、科技的或論述的媒介意涵。此一物質性效果除了提供觀者短暫地瞥見幽靈般的記憶臨現，猶如環繞在歷史「在世存有」的情調當中，更藉由過去／現在、傳統／現代的交錯辯證關係，開啟向當代人進行歷史扣問的向度。同時，本文亦援引拉岡的藝術觀點來探究昇華作用與空無的密切關係：一方面強調山水動畫影音的出現乃「原物」般的昇華時刻，象徵消失的百花深處胡同之顯靈；另一方面則將陳凱歌的創作行動視為昇華的倫理姿態，它向我們示範了如何以創造空無來逼近那個消逝的原物或時代精神。

This essay addresses the notions of‘stimmung’,‘aura’, and‘nothing’to summon up the presence of intangible media. By juxtaposing the readings of Martin Heidegger, Walter Benjamin, and Jacques Lacan for interpreting Kaige Chen’s 100 Flowers Hidden Deep - a segment in the anthology film Ten Minutes Older: The Trumpet - the essay weaves the arguments of mediation through discussions of the comic theme and the animated scene of shan-shui audio-vision in Chen’s short film. The aim is to show how these three notions can be closely intertwined with the intangible sense of medium and to reveal the zero-degree dimension of spectrality that various forms of mediation - be they material, technical, or discursive - cannot convey. Chen’s 100 Flowers Hidden Deep is a whimsical comic fable on the ravages of Beijing’s urban modernization and the cultural memories of traditional local Hutong alleys. The film features a delusional elderly man, Mr. Fong, who is convinced his belongings still stand in the vacant lot where his residence used to be and so persuades workers to help him transport them to his new home. When the workers arrive at the specified location, however, they discover that the old man’s residence has already been demolished. The so-called 100 Flowers Hidden Deep becomes a lost place. The comic motif of“moving nothing”thus arises: upon further reflection the workers decide to humor the anachronistic man and help him move his non-existent possessions. After the play of moving nothing, Fong is disappointed except for finding a relic of the bell that used to hang from the roof of his house. The workers leave, but on the way of driving back, they find the clapper of that bell. When Fong puts them together, the film concludes by shifting from a realistic shot of the empty lot to an animated shan-shui painting of what is presumably Fong’s memory of his former home. In order for an in-depth analysis of the anachronistic existential relation between Fong and the workers that introduces the comic motif, I draw on the concept of stimmung in Heideggerian phenomenology to examine its function of mediation that implicitly determines our states of mind. For Heidegger, stimmung, as a primordial way of disclosing Being-in-the-world, attunes us ontologically to the world. In this sense, I contend that Heidegger’s account of stimmung not only explores the interplay of tradition/modernity, the past/the present, the virtual/the actual, and memory/reality in Chen’s film, but also brings about a more psychoanalytical light on the effects of comedy with regard to Fong’s“out-of-jointedness”, which indicates an uncanny excess of reality. Moreover, the incorporeal image of animation, making ephemerally present the spectral remainder of the lost 100 Flowers Hidden Deep, thus discloses for the workers the possibility of immersion in the stimmung of traditional Beijing.