論《巴黎•德州》中照片的多重詮釋

Abstract

這篇論文的研究主題是探討在電影《巴黎•德州》中照片的意義，採取的詮釋方法來自李克爾詮釋學。研究文本類型是電影中的照片，研究目的在於探究多重詮釋的理解過程與結果。研究問題為以下三點：（1）在《巴黎•德州》中，照片如何產生意義且抵達意義的途徑為何？（2）照片意義之賦予者的觀看角度，及其相互關係為何？（3）《巴黎•德州》中照片意義的詮釋結果為何？

本研究結果發現由於照片的再現方式、意義的解讀途徑、時間與空間的轉換以及個人性差異等因素，研究必然呈現出一種多重詮釋過程。研究者因此由三種詮釋立場，分別從電影中的角色、導演溫德斯與觀看者（研究者）立場來探究照片的意義。

研究者認為電影中照片的詮釋結果，其意義的暫時性遠大於其他類型的攝影文本。詮釋過程的多重變因，如文本多重的再現性質、敘事體中情境與時空的改變、角色互動等，讓意義成為動態的過程，造成一種常態性的「意義的滑動」，表現在意義與個人、意義與時空、意義與觀點的關係之中。

The research is to discuss the meanings of photographs in film “Paris, Texas” using Ricoeur’s interpretation theory. The objective is to discover the process and results of multiple interpretations of “photographs in cinema”. The research questions in this study are as following:

(1) How the meanings of the photographs are invoked in “Paris, Texas”? (2) What is the relationship of viewers who give the meanings? (3) What are the results of the interpreting process?

This research must be a process of multiple interpretations due to the reappearance of photographs in cinema, ways of interpretation, transformation of time and space, and differences among interpreters. Therefore I discuss the meanings of photographs in cinema from three perspectives: the characters, the director, and the viewer of the cinema.

In this study, I have discovered that the “temporality” of meanings of photographs in cinema is more obvious than other kind of photographs. The variables in the interpreting process, such as the multiple representations of text, the changing contexts of narrative, and the interaction of characters, make meanings become dynamic. It is in a constant state of “slip of meanings” which is embodied in the relations of meaning and individual, meaning and situation, and meaning and viewpoint.