無法靜止的瞬間：從《消失的情人節》論「慢」的影像美學策略與當代性

Moment Between Static and Motion: Examining the Slow Image Aesthetic Strategy and Contemporaneity from My Missing Valentine

本論文試圖藉由陳玉勳《消失的情人節》（2020）中透過攝影與電影的並置，探討動態影像中的辯證問題。相較於多數科幻、懸疑片中的動態影像不斷藉由靜止與運動的對立關係（非動即靜），陳玉勳在本片中卻藉由在暫停的世界中進行攝影行動之悖謬性，轉以「慢」來討論與動態影像的「快」（非快即慢）間的相互關係。本論文的意圖不單指向動態影像的討論，同時也將本片置放於臺灣電影史的脈絡下，以此探問：在新電影之後，臺灣電影採取什麼樣的時間意識來面對歷史？而這種藉由緩慢與延遲的美學所建構的延遲主體意識之轉向，又如何回應當代？

"The aim of this thesis is to explore dialectically about the time sets in dynamic images via examining My Missing Valentine, directed by Chen Yu Hsun in 2020. In this film, the techniques of photography and filming were both introduced to demonstrate the absurdity, photographing in a space where time stops. Compared to most sci-fi and suspense movies, where the dynamic images rely persistently on the rotation of still and moving motions to create the opposing relationship–either still or moving, Chen Yu-Hsun adopted a slow approach to discuss the rapidity in dynamic images, a relationship of either fast or slow. Another attempt of this thesis, in addition to exploring the dynamic images, is to raise the question of how movies evolve when facing the contemporary turning of concepts in regard to historic time and delayed subjectivity from the context of Taiwanese movie history."