空镜影史:一种迈向非人的变体谱系

The Film History of Empty Shot: Towards A Declension Genealogy of Non-Human Turn

比起动辄数百年甚至数千年的艺术史,电影史实在显得微不足道。若算足,中外影史不过百余年。当中,影片与相关电影活动乃为中枢,先有影才有史,影史书写故可谓相对晚来产物。百年来中西影史发展历程,采线性为主的国族书写及尤其潮浪群雄的作者论历久不衰。自电影百年以降,华语电影史或台湾地区电影史横向地向跨地、跨国、全球化及华语语系等框架敞开。与此同时,跨学科、跨文化及跨媒介等方法论的更迭则方兴未艾。本文拟以空镜头思辨现当代影史编撰学的某种发展缩影,并将之提炼以展开影像艺术新论的潜在形态。首先,空镜头作为堪比中性或过渡状态的电影语法其来有自,关于其穿越国际与在地的动线轨迹足以构成文化本质主义或特殊主义的多重论辩(爱森斯坦、费穆、小津安二郎、侯孝贤);其次,它亦具前景化意义,能够凸显时间性、反思性与批判性(安东尼奥尼、韦拉斯塔古);再次,面对全球气候变迁危机等挑战,空镜头则一反常态,未必只能被架置于人类中心论,而可跃居成为得以近距离地测绘地表体现震荡世界之主体(西川智也、葛霍特、布汀斯基),连带地影响当代影史编撰学的走向,并形塑出自身变体谱系。

In contrast to the art history which spans hundreds or even thousand years,the history of film which only developed for more than a hundred year is insignificant.Films and related film activities are the core during the film history development process,whereas the writing of film history can be regarded as a relatively late product.Among them,the perspectives of nationalism writing and auteur theory based on lin-earity have endured for a long time.Since the centenary of cinema,the history of Taiwan cinema or Chi-nese cinema has opened up transversally to such frameworks as translocal,transnation,globalization and sin-ophone.At the same time,methodologies that combine transdiscipline,transculture and transmedium are in the ascendant.This paper uses empty shot to speculate on a microcosm of the development of modern and contempo-rary historiography,and refines it to develop the potential form of new theories of moving image.First of all,empty shot as a film grammar is comparable to a neutral or transitional state,its trajectory through the international and the local constitute the multiple debates on cultural essentialism or cultural singularity(Sergei Mikhailovich Eisenstein,Fei Mu,Yasujiro Ozu,Hou Hsiao-hsien).Secondly,it also can highlight heterogenous temporality,reflexivity and criticism(Michelangelo Antonioni,Apichatpong Weerasethakul).Finally,in the face of challenges such as the global climate crisis,empty shot is uncharacteristically,and may not only be placed in anthropocentrism,but can become a subject that can closely survey and map the surface to reflect the turbulent world,and has a consequential impact on the trend of contemporary art historiography.