時空移置的場景構作：電影《大稻埕》個案研究

Scene-making through Spatio-temporal Displacement: A Case Study of the Movie Twa-Tiu-Tiann

城市不僅充斥著各種媒介和訊息，本身也是媒介和訊息，既構成繁複的物質、活動與符號複合體，也滋生多樣而曖昧的時空經驗。本研究以電影《大稻埕》的場景構作為例，探討依託於實際地方又虛構景觀的電影場景，如何以其時空移置的搭建，示範了「媒介城市」的組構動態與可能影響。《大稻埕》的場景構作分析顯示，場景不同於奇觀、擬像、地景等概念，它是場所築造與視覺框設的共同產物，往往牽涉了時空參照的移置，並因此可能產生魅惑。作者分析《大稻埕》主要場景，描繪其場景構作和攝影剪接如何將真實地方轉化為電影場景，又因為場景的物質性和觀影經驗的延伸，而可能變身為吸引遊客的景點，成為真實空間中虛實交錯的環節，體現了媒介城市的多層次樣貌。

Cities not only bear a miscellaneous collection of medium and information, but are themselves medium and information as well. Cities form intricate complexes of materials, activities and symbols, and generate various spatiotemporal experiences with ambiguity. Through a case study of the scene-making in the film Twa-Tiu-Tiann, this paper explores how cinematic scenes, which rely on the actual place but also make up fictional landscape, are able to demonstrate the configurating dynamics of a media city and its potential effects. We argue that the scenes are able to do so through the enchantment deriving from spatiotemporal displacement. The scene-making in Twa-Tiu-Tiann shows that the 'scene' differs from the notions of spectacle, simulation, landscape and so on. Scenes are the co-product between place-making and visual framing. It is often involved in the displacement of spatiotemporal references, and thereby gains the power of enchantment. By analyzing the main scenes in Twa-Tiu-Tiann, we show how its scene-making and film-editing has turned a real place into cinematic scenes. The materiality of the place and the film-watching experiences meanwhile renders the actual place an enchanting tourist attraction. This is a moment of interlaced fictionality and realness in the real world, which works to embody the multilayered appearances of a media city.