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頁數：111﹣144
情調、氛圍、空無： 論《百花深處》中的無形媒介
Stimmung, Aura and Nothing: Intangible Media in 100 Flowers Hidden Deep
研究論文
作者(中)
黃冠華
作者(英)
Guan-hua Huang
關鍵詞(中)
《百花深處》、空無、氛圍、情調、媒介
關鍵詞(英)
100 Flowers Hidden Deep, aura, media, nothing, stimmung
中文摘要
本文聚焦於情調、氛圍與空無的概念，探討其作為無形媒介的性質與存在議題。藉由閱讀海德格、班雅明以及拉岡，本文闡釋上述無形媒介所蘊涵的零度面向，據以分析陳凱歌的短片《百花深處》──特別是該片的喜劇主題以及山水動畫影音的美學效果，來演繹那個歷史上消失了的百花深處。就媒介化 的意義而言，本文試圖論證，不論是海德格本體論的情調與班雅明美學的氛圍概念，均具備了類似拉岡精神分析中空無的作用與物質性，凸顯出不同於實體的、科技的或論述的媒介意涵。此一物質性效果除了提供觀者短暫地瞥見幽靈般的記憶臨現，猶如環繞在歷史「在世存有」的情調當中，更藉由過去／現在、傳統／現代的交錯辯證關係，開啟向當代人進行歷史扣問的向度。同時，本文亦援引拉岡的藝術觀點來探究昇華作用與空無的密切關係：一方面強調山水動畫影音的出現乃「原物」般的昇華時刻，象徵消失的百花深處胡同之顯靈；另一方面則將陳凱歌的創作行動視為昇華的倫理姿態，它向我們示範了如何以創造空無來逼近那個消逝的原物或時代精神。
英文摘要
This essay addresses the notions of ‘stimmung’, ‘aura’, and ‘nothing’ to summon up the presence of intangible media. By juxtaposing the readings of Martin Heidegger, Walter Benjamin, and Jacques Lacan for interpreting Kaige Chen’s 100 Flowers Hidden Deep - a segment in the anthology film Ten Minutes Older: The Trumpet - the essay weaves the arguments of mediation through discussions of the comic theme and the animated scene of shan-shui audio-vision in Chen’s short film. The aim is to show how these three notions can be closely intertwined with the intangible sense of medium and to reveal the zero-degree dimension of spectrality that various forms of mediation - be they material, technical, or discursive - cannot convey.
Chen’s 100 Flowers Hidden Deep is a whimsical comic fable on the ravages of Beijing’s urban modernization and the cultural memories of traditional local Hutong alleys. The film features a delusional elderly man, Mr. Fong, who is convinced his belongings still stand in the vacant lot where his residence used to be and so persuades workers to help him transport them to his new home. When the workers arrive at the specified location, however, they discover that the old man’s residence has already been demolished. The so-called 100 Flowers Hidden Deep becomes a lost place. The comic motif of “moving nothing” thus arises: upon further reflection the workers decide to humor the anachronistic man and help him move his non-existent possessions. After the play of moving nothing, Fong is disappointed except for finding a relic of the bell that used to hang from the roof of his house. The workers leave, but on the way of driving back, they find the clapper of that bell. When Fong puts them together, the film concludes by shifting from a realistic shot of the empty lot to an animated shan-shui painting of what is presumably Fong’s memory of his former home.
In order for an in-depth analysis of the anachronistic existential relation between Fong and the workers that introduces the comic motif, I draw on the concept of stimmung in Heideggerian phenomenology to examine its function of mediation that implicitly determines our states of mind. For Heidegger, stimmung, as a primordial way of disclosing Being-in-the-world, attunes us ontologically to the world. In this sense, I contend that Heidegger’s account of stimmung not only explores the interplay of tradition/modernity, the past/the present, the virtual/the actual, and memory/reality in Chen’s film, but also brings about a more psychoanalytical light on the effects of comedy with regard to Fong’s “out-of-jointedness”, which indicates an uncanny excess of reality. Moreover, the incorporeal image of animation, making ephemerally present the spectral remainder of the lost 100 Flowers Hidden Deep, thus discloses for the workers the possibility of immersion in the stimmung of traditional Beijing.
The effect of shan-shui animation when we view it as virtual surroundings in Fong’s past memories becomes the workers’ auratic presence, rendering communicable the long-forgotten cultural heritage. For an analysis of the aesthetic characteristic of shan-shui animation, the essay reflects upon the writings of Walter Benjamin and most especially his passages on aura and dialectical image, which provide the tools to understand the pivotal role of memory and image in relation to Benjamin’s redemption of history. Much has been addressed about the aura, particularly in relation to Benjamin’s most-quoted essay, ‘The Work of Art in the Age of Mechanical Reproduction’, in which aura is associated with the singular status of artwork - its unique existence in space and time. Rather than regarding the concept of aura as the traditional sense of full presence and authenticity, the essay argues that the notion of unconscious aura in Benjamin’s other texts allows us to link Proust’s “involuntary memories” to the analysis of shan-shui animation. In keeping with Benjamin’s perspective, it can be claimed that the aura of animation looks back, thus causing the workers to undergo an uncanny experience that indicates the possibility of encountering alterity. In other words, the unconscious aura runs parallel to the gaze in Lacanian psychoanalysis. Significantly, I suggest through the mode of auratic perception, like a medium in the sense of a diaphanous halo surrounding human beings, that the workers in the film, and we spectators as well, are allowed access to a fragment of lost time.
The image of shan-shui animation in the form of irresolute vagueness should be paid more attention. In the last scene of the film, the shan-shui image is surfacing much like a dream or memory, with the effect of a nebulous atmosphere pervading the whole screen. In this regard, it seems to encompass the magical value of the aura that Benjamin refers to dialectical image. As such, I argue that the notions of unconscious aura and dialectical image formulate Benjamin’s messianic thinking of history, according to which the animated image of traditional Hutong alleys implies the redemptive power of memory. To pinpoint the significance of Chen’s artistic creation and his major concern for historical heritage, I focus on Lacan’s passage on the theory of art from his Seminar VII, which re-evaluates the Kantian notions of Thing and Sublime, in order to investigate the function of sublimation in artistic work.
Sublimation is a concept central to psychoanalytic theories about art. In the text of Seminar VII, Lacan speaks of the fully developed definition of the term sublimation, which raises the object to the dignity of the Thing, and the formula of art, which is characterized by a certain mode of organization around the nothing (void, emptiness). By explicating the function of sublimation and the close relation between the Thing and the nothing in Lacan, I propose that the lost place, 100 Flowers Hidden Deep, is just the nothing that Chen creates and organizes the plot around, and the Thing-like shan-shui animation as the existence of the nothing designates the sublimatory moment when the memory of this lost place flashes up. As such, Chen’s act of creation undoubtedly echoes the ethical gesture of sublimation in Lacan’s sense, longing to find a new way to approach the Thing. At the core of my interpretation on 100 Flowers Hidden Deep, I conclude that the role of nothing with spectral materiality in psychoanalysis manifests itself in relation to the mediating aspects of stimmung in ontology and of aura in aesthetics and present the question of sublimation through which Chen’s work over the concern for historical heritage invites us to think.
Chen’s 100 Flowers Hidden Deep is a whimsical comic fable on the ravages of Beijing’s urban modernization and the cultural memories of traditional local Hutong alleys. The film features a delusional elderly man, Mr. Fong, who is convinced his belongings still stand in the vacant lot where his residence used to be and so persuades workers to help him transport them to his new home. When the workers arrive at the specified location, however, they discover that the old man’s residence has already been demolished. The so-called 100 Flowers Hidden Deep becomes a lost place. The comic motif of “moving nothing” thus arises: upon further reflection the workers decide to humor the anachronistic man and help him move his non-existent possessions. After the play of moving nothing, Fong is disappointed except for finding a relic of the bell that used to hang from the roof of his house. The workers leave, but on the way of driving back, they find the clapper of that bell. When Fong puts them together, the film concludes by shifting from a realistic shot of the empty lot to an animated shan-shui painting of what is presumably Fong’s memory of his former home.
In order for an in-depth analysis of the anachronistic existential relation between Fong and the workers that introduces the comic motif, I draw on the concept of stimmung in Heideggerian phenomenology to examine its function of mediation that implicitly determines our states of mind. For Heidegger, stimmung, as a primordial way of disclosing Being-in-the-world, attunes us ontologically to the world. In this sense, I contend that Heidegger’s account of stimmung not only explores the interplay of tradition/modernity, the past/the present, the virtual/the actual, and memory/reality in Chen’s film, but also brings about a more psychoanalytical light on the effects of comedy with regard to Fong’s “out-of-jointedness”, which indicates an uncanny excess of reality. Moreover, the incorporeal image of animation, making ephemerally present the spectral remainder of the lost 100 Flowers Hidden Deep, thus discloses for the workers the possibility of immersion in the stimmung of traditional Beijing.
The effect of shan-shui animation when we view it as virtual surroundings in Fong’s past memories becomes the workers’ auratic presence, rendering communicable the long-forgotten cultural heritage. For an analysis of the aesthetic characteristic of shan-shui animation, the essay reflects upon the writings of Walter Benjamin and most especially his passages on aura and dialectical image, which provide the tools to understand the pivotal role of memory and image in relation to Benjamin’s redemption of history. Much has been addressed about the aura, particularly in relation to Benjamin’s most-quoted essay, ‘The Work of Art in the Age of Mechanical Reproduction’, in which aura is associated with the singular status of artwork - its unique existence in space and time. Rather than regarding the concept of aura as the traditional sense of full presence and authenticity, the essay argues that the notion of unconscious aura in Benjamin’s other texts allows us to link Proust’s “involuntary memories” to the analysis of shan-shui animation. In keeping with Benjamin’s perspective, it can be claimed that the aura of animation looks back, thus causing the workers to undergo an uncanny experience that indicates the possibility of encountering alterity. In other words, the unconscious aura runs parallel to the gaze in Lacanian psychoanalysis. Significantly, I suggest through the mode of auratic perception, like a medium in the sense of a diaphanous halo surrounding human beings, that the workers in the film, and we spectators as well, are allowed access to a fragment of lost time.
The image of shan-shui animation in the form of irresolute vagueness should be paid more attention. In the last scene of the film, the shan-shui image is surfacing much like a dream or memory, with the effect of a nebulous atmosphere pervading the whole screen. In this regard, it seems to encompass the magical value of the aura that Benjamin refers to dialectical image. As such, I argue that the notions of unconscious aura and dialectical image formulate Benjamin’s messianic thinking of history, according to which the animated image of traditional Hutong alleys implies the redemptive power of memory. To pinpoint the significance of Chen’s artistic creation and his major concern for historical heritage, I focus on Lacan’s passage on the theory of art from his Seminar VII, which re-evaluates the Kantian notions of Thing and Sublime, in order to investigate the function of sublimation in artistic work.
Sublimation is a concept central to psychoanalytic theories about art. In the text of Seminar VII, Lacan speaks of the fully developed definition of the term sublimation, which raises the object to the dignity of the Thing, and the formula of art, which is characterized by a certain mode of organization around the nothing (void, emptiness). By explicating the function of sublimation and the close relation between the Thing and the nothing in Lacan, I propose that the lost place, 100 Flowers Hidden Deep, is just the nothing that Chen creates and organizes the plot around, and the Thing-like shan-shui animation as the existence of the nothing designates the sublimatory moment when the memory of this lost place flashes up. As such, Chen’s act of creation undoubtedly echoes the ethical gesture of sublimation in Lacan’s sense, longing to find a new way to approach the Thing. At the core of my interpretation on 100 Flowers Hidden Deep, I conclude that the role of nothing with spectral materiality in psychoanalysis manifests itself in relation to the mediating aspects of stimmung in ontology and of aura in aesthetics and present the question of sublimation through which Chen’s work over the concern for historical heritage invites us to think.
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2022/ 春
No.151
