從錯誤的共在中分離：阿多諾論電影作為社會啟蒙的媒介

Adorno on Film as a Medium of Social Enlightenment

一向以來普遍認為阿多諾對文化工業提出銳利而全面的批評，但卻並未提出任何克服此弊端之積極建議。本文將指出，阿多諾思想中實有著一道企圖由文化工業內部矯正文化工業弊病的積極思路，迄今未被恰適理解：阿多諾在文化工業的一個主要分支中——亦即電影——見到其作為社會啟蒙媒介之潛能。阿多諾是以一種隱而不顯的方式，交錯融會了班雅明的「散心分神」概念與佛洛依德的「認同」理論，在此基礎上探究娛樂中的電影觀眾之潛意識需求及其轉化可能。重構此兩道理論脈絡並闡明其內在關連，將可使我們見到阿多諾在《為電影作曲》中所構思的，乃是以電影內不同媒介間的張力創造一種筆者稱之為「從錯誤共在中分離」的內在經驗，其足以強化群眾的心智能力而有益於社會啟蒙。

It is widely believed that Adorno offers a radical critique of culture industry without offering possible methods for building a rational alternative. In this paper, I will argue that the goal of building a “rational mass” is a constituent part of his project of social education. Drawing on Adorno's psychoanalytical reception of Freud’s theory of identification and his reflections on Walter Benjamin’s insights into the educational potential of film, I will show that for Adorno the culture industry is not merely engaged in “mass deception”, but also embodies an incorrect model for regulating the inner dynamic of the masses. Adorno thus transforms Freud’s analysis of mass-psychology and weaves it into his own analysis of culture industry. This combination illuminates a long-neglected project of Adorno’s involving the use of commercial film as a medium for strengthening the psychological capacity of the masses.