作為影像命題的視聽檔案

Abstract

近10幾年來，東西方的運動音像創作領域興起了一股以「視聽檔案」作為創作素材的風潮。創作者搜索與挖掘塵封的、被遺忘的及現存的各種「視聽檔案」，對之進行篩選、編目、索引、重新使用與模擬拍攝。「視聽檔案」遂是將各種來自不同界域，且高度異質性的材料進行吸收與重構，並將之化身（聲）為蹤跡與回聲的複合體。尤其，它同時為一種試圖透過蒙太奇等手法，展開追憶、再憶與思想的創造行動。本文擬以法國導演高達的《電影史》(1988-1998)、葡萄牙女性藝術家德•蘇莎•翟雅斯的《凝視歷史》(2005)，及台灣陳界仁的《凌遲考》(2002)三部相關作品，檢視記憶與思想的形象化程序、「視聽檔案」的「本體」與「原則的啟始性」的問題，及「視聽檔案」作為「鬼魂性」現身（聲）的「縈繞」對歷史所展開的批判之旅。

In the past decade, the field of audiovisual creation, both in the Western and Eastern world, has been strongly influenced by an artistic trend of taking ”archives” as the materials of production. Creators search for and delve into the ”visual and audio archives” which are sealed and forgotten or exist contemporarily, having them been shifted, cataloged, indexed, reused and remade. ”Audiovisual archives” then gradually become the compound of embodiment (vocalization) of traces and echoes, taking up and reconstructing the highly heterogeneous materials which come from different realms. Especially it is a creative activity of recollecting, recalling and thinking attempted by using the way of montage. This study will use three relative productions: French director Jean-Luc Godard’s Histoire (s) du cinema (1988-1998), Portuguese female artist Susana De Sousa Dias' Natureza Morta (2005) and Taiwanese artist Chen Chieh-Jen's Lingchi: Echoes of a Historical Photograph (2002) to examine the shaping procedure of memory and thinking, the problem of audiovisual archives' ”subjectivity” and ”initiation in principle” and the critical journey toward the history start with assigning archives as a ”hovering” embodied/vocalized by the ”phantoms”.