繪畫與影像的對話：電影《血觀音》中愛的現象

Dialogue between Painting and Cinema: The Phenomenon of Love in the Films The Bold, the Corrupt, and the Beautiful

對於電影中的畫，傳統電影分析的作法，是將畫作為引用、詮釋、補充影像所用，然而，由於電影《血觀音》中的畫，是邀請畫家柳依蘭依據電影的主題「愛」所重新創作的《彼岸花》，基於繪畫與電影表現形式的差異，畫家對於主題所表現的獨創性，是無法完全被電影所吸納，所以無法作為引用或詮釋的對象。基於此，對於這部電影中影像與畫特殊的美學關聯，本文採取馬希翁（Jean-Luc Marion）和邦方（Alain Bonfand）的現象學方法，將《血觀音》中的《彼岸花》視為一個獨立的藝術作品，而得以在顯現「愛」的共同基礎上，與影像進行表現現象上的比較，並進一步檢視當影像與畫交織產生「交錯性影像」時，這種影像又如何呈現一種愛的現象。透過《血觀音》（以及《彼岸花》）與馬希翁現象學的連結，本文不僅打開了畫與影像新的對話空間，也揭示了《血觀音》中複雜多類的愛的現象。

Traditional film theory prefers obvious uses of painting in cinema, such as in quotations, interpretations, and support, seeing painting as the setting and prop of cinema to support the film narrative. However, this traditional approach does not work for Yang Ya- Che’s films The Bold, the Corrupt, and the Beautiful. Unlike the typical“painting in film,”the film’s painting, named Higanbana, is drawn by the painter Liu Yi-Lan based on the film’s theme, love. Because painting and cinema are different in terms of the medium, the painter’s originality on the theme of love cannot be fully appropriated by the film Thus, her work cannot end with the film’s prop only. In this regard, to understand the specific relationship between film and painting, this paper takes an approach different from the traditional analysis of painting in cinema: a phenomenological approach based on the perspectives of Jean-Luc Marion and Alain Bonfand. This approach conceives the painting in the film as a painting in the real world. In this way, film and painting can be compared in how they perform with the theme of love, employing their unique art forms. In addition, when the film and the painting further intertwine to generate a“crossed image,”how the image manifests the phenomenon of love is also examined. Finally, through the juxtaposition of Marion’s erotic phenomenology with The Bold, the Corrupt, and the Beautiful as well as the painting Higanbana, this paper not only opens a new dialogue between painting and cinema but also reveals the complicated and multi-type phenomena of love in the film.