從羅蘭巴特《明室》的「現代私密主體」看安東尼奧尼的《春光乍洩》

To see Antonioni’s Blow-up from the modern private subject in Barthes’ Clear Room

巴特的《明室》提出了一套「攝影現象學」，同時勾畫出某種「現代私密主體」的系譜學。此私密主體是照片中某個偶然「刺點」穿透文化符碼之「知面」所喚起的「強度的點狀自我」，而逼顯出社會所無法面對處理的「瘋狂真理」。安東尼奧尼的電影《春光乍洩》亦觸及到「刺點」的問題。《明室》與《春光乍洩》的相互對照，見證了攝影的「瘋狂」與「睿智」。

Barthes’ Clear Room proposes a phenomenology of the photo, and depicts a genealogy of the modern private subject. This private subject, who is called by a hazard punctum penetrating the stadium of the cultural code, becomes an intensive punctual self, manifests the mad truth of the photo. Antonioni’s Blow-up touches also the problem of the punctum. Through a mutual reflection between Clear Room and Blow-up, we see the madness and sage of the photo.