后工业哥特/诗意与“慢电影”——蔡明亮电影《郊游》中的废墟意象

The Gothic / the Poetic in Post-industry and “Slow Cinema”:the Image of Ruins in CAI Ming-liang's Stray Dogs

本文旨在以台湾导演蔡明亮电影《郊游》(2013)为例,探讨当今西方学界关注的"慢电影"与都市"废墟"美学及文化的关联,涉及空间(如城市、建筑、自然景观等)、身体与影像的多重交迭,论述"展现"(presentation)与"再现"(representation)、有形与无形、可见与不可见、实体的/物质的与精神的或虚拟的、及物与人之间的复杂纠葛、流动与彼此作用。边缘、底层人的处境通常被掩藏和遗忘,各类特权阶层的光鲜生活总被通俗媒体强调、宣传和钦羡。"废墟"空间对都市规划的反抗性,在《郊游》中被刻意强调,然又因人物状态的倦怠而削弱。无论如何,"慢电影"成为保存都市"慢废墟"的重要媒介。

Taking CAI Ming- liang＇s Stray Dogs as a case study,this essay explores the aesthetics and cultural connections between the ＂slow cinema＂and urban ＂ruins＂in terms of space（ such as,the city,architecture,natural landscape etc.）,and the overlap between the body and the image to analyze the complex interaction between＂presentation＂and ＂representation＂,the visible and invisible,the substantial / material and the spiritual or virtual,and the thing and being. The plight of the marginal and the unprivileged usually was concealed and forgotten,while the glamorous life of the privileged was promoted and admired. Stray Dogs deliberately stressed the rebellion against the urban planning with the ＂ruins＂that got weakened because of the characters＇ lassitude. ＂Slow cinema＂anyhow has become an important media to preserve the urban ＂slow ruins. ＂