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第 13  期


Ming-Chuan Huang, Singing Chen and Ruinscapes as Dust Gets in Your Eyes: Phantom Scenes in Taiwan Cinema
作者 孫松榮
Author Song-yong Sing
關鍵詞 反生態性廢墟雕像無居所性黃明川陳芯宜
Keywords Anti-Ecology, Ruinscapes, Statues, Noninhabitability, Ming-Chuan Huang, Singing Chen
摘要 自電影創始以降以迄當代,生態一詞所表徵的居所與生活區域,賦形為自然、風景與土地,一直以來它們即是刻劃與體現人性、情懷與思想的重要圖景。歷經原爆與集中營的戰後歐美現代電影,一反常態,以突變難堪的環境、反常敗壞的棲息之所,結合預言性(科幻性)、社會性(寫實性)及政治性(辯證性)的生態性影像創置,激烈省思人本主義的影像意義。
Abstract From the genesis of cinema to the present, the habitats and living spaces that are symbolized by the term “ecology” and shaped through nature, scenery, and landscape have always served as important vistas for depicting and expressing human feelings and thoughts. However, contemporary European and American cinema
after the era of the atomic bomb explosions and concentration camps completely reversed what had been the status quo and began using mutated, unbearable environments and abnormal, ruined habitats combined with the creation of prophetic (science-fiction), societal (realistic), and political (dialectic) eco-images in order to reflect intensively on the meaning of humanistic imagery.
A few isolated Taiwanese cinematic works after the 1960s have also revealed the spirit of this kind of anti-ecological imagery. Ming-Chuan Huang's independent films, which emerged in 1989, not only carried on this imagery heritage but also pushed it further to the creation of a kind of alternate eco-imagery in which the loss of subjectivity results from an antihuman standard (including anti-Sinification and so on). This creative approach, in which local islands in ruins and destroyed idols were prominently featured, later inspired the young director Singing Chen to use the politicized aesthetic vision of wasted homes and ruinscapes to develop a creative approach that is expressive of resistance, introspection, ethics, and poetics all at once. Generally speaking, artists from Ming-Chuan Huang to Singing Chen have, on the one hand, expanded upon social ideologies that had rarely been continuously explored and deepened in modern Taiwan cinema and, on the other hand, manifested a contemporary visionary impulse and style within the new generation of Taiwanese cinema that is completely at odds with the usual expressions of youthful passion, indigenous folklore, and prodigious nostalgia.
/ 巫佩蓉    Pei-Jung WU
/ 謝世英    Shih-ying, Hsieh
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