糾纏區帶：聲觸空間、雲端混雜織線與軟紀錄片的文化跨碼

Zone of Entanglement: Sound-Haptic Space, Interwoven Threads of Cloud, and the Cultural Inter-Coding of the Soft-Documentary

本文從跨文化電影研究學者瑪克絲（Laura U. Marks）對於視觸影像的觀察作為起點，論述文化在流徙變形的過程中與影像視聽技術交織成的蒙太奇語言，以及異文化語言／聽覺、「他舌──口音」在視觸影像觀看過程中可能的干擾與跨碼交涉。當電影成為存在於新媒體、數據資料庫、蒙太奇敘事、與「媒體語言──文化地理」的雙重離散性之間的一種混雜介面時，「文化跨碼」（cultural inter-coding）如何成為新媒體作為電影的內部語言，如何與跨文化電影區隔，又如何是一種可以不斷被交換、轉譯且在語言的翻譯政治下形構了文化交互介面，成為跨文化電影的另一種格式。接續，本文提陳軟電影、軟蒙太奇兩種影像語法擴延為「軟紀錄片」，論述在面對全球化語境時，「文化跨碼」如何在雲端檔案混雜的「糾纏區帶」中成為多重檔案織線，並外展為記憶、翻譯與變形的軟場景／任意空間。

Starting from the observations of intercultural cinema research scholar Laura U. Marks on the visual–haptic image, this paper discusses the interwoven montage language of culture and audio-visual technology in the process of cultural migration and transformation, as well as the possible interferences and inter-coding of foreign language/auditory and “OTHER tongue―accented” senses in the process of viewing the visual–haptic image. As cinema becomes a hybrid interface between new media, databases, montage narratives, and the double discretion of “media language–cultural geography,” how does “cultural inter-coding” become the intrinsic language of new media as cinema? How does it differentiate itself from intercultural cinema? How can it constantly be exchanged, translated, and shaped by the politics of language translation, forming an interactive interface of culture, and becoming an alternative format of intercultural cinema? The two interwoven visual languages of soft cinema and soft montage are extended into a “soft-documentary,” illustrating how, in the context of globalization, “cultural inter-coding” becomes a multiplicity of archival strings in a hybrid “entangled zone” of cloud archives, and extends into an arbitrary space of memory, translation, and “Soft-scene/Any-spaces-whatever.”