Intercultural Cinema:Depend on Things, Entangled Objects, Image-Matter-Flow

━━━━━━━━━ 林欣怡 交大應藝所副教授

 


封面影像:Louis HENDERSON, All That Is Solid, 2014, Documentary, 15mins


 

「糾纏」涉及物質技術以及非物質的組成,我們必須追索在這樣糾纏的物質流中,偶然性、複雜系統和軌跡如何作用。「糾纏」專注的不僅是偶然性、交互性與分配,更側重人與物質流之間的文化關係的「交織狀態」。當我們討論跨文化這個概念時,我們也必須同時討論是怎樣的物質流與人的異質身份進行纏結作用?又如何在這樣的纏結中,重新理解跨文化的問題。而跨文化電影透過將記憶物件、個人物件等具身份性的物質觸身操作,召喚感官記憶,構成了一種「影像物質流」(image-matter-flow),此「物質流」是一種離散者所攜帶的身體經驗(文化之物),在此視角下,「聲覺」、「觸視」、「文化物質」在跨文化電影中是人與物質/事物感官上的纏繞,所企圖召喚另一種記憶、另一種溢出「視覺」的影像組件。本研究將關注在全球化語境下,是否還存在「跨文化主體」?我們又如何在雲端的景觀社會中,生產歧義、辨識文化主體的差異認同?跨文化影像中的「物質流」,是否早已在「視覺」的框架中,稀釋了跨物質性與被敘事主導了糾纏感性的可能?

In recent years, “entanglement” has been a method of frequent discussions for scholars immersed in intercultural studies and anthropological research. This method values the power of culture to transcend space and time, and the impact of movement and imbalances. “Entanglement” involves matter and non-matter composition. We must trace the workings of fortuity, complex systems, and trajectories within this entangling matter flow. The focus of “Entanglement” is not only fortuity, interactivity, and distribution, but also emphasizes the enmeshed or interwoven of cultural relationships between human and matter flow. When we discuss the concept of interculturalism, simultaneous discussions must also take place about what type of matter flow is entangled with the heterogeneous identities of human beings. Moreover, how do we renew our understanding of intercultural issues in such entanglement?

By touching and manipulating matters with identity characteristics such as memory objects and personal objects, intercultural cinema summons sensory memories to compose a type of “image-matter-flow”. This “matter-flow” is a type of personal experience (cultural matters) carried by detached individuals. From this perspective, “hearing sensory”, “haptic visuality”, and “cultural matters” within intercultural cinema is the entanglement of human and matters as well as the sensory of things, and its attempt to summon another type of memory, another imaging component of overflowing “visual sensory”.

This research will focus on, does the “intercultural subject” still exist in the globalization of languages? Within the society of the Cloud-Spectacle, how do we produce disagreement of meaning, and decipher the cultural subject’s differentiation or identification? In the framework of “visual sensory”, has the “matter-flow” in intercultural imagery diluted inter-matter characteristics and the possibility of narration dominating entangled sensibility?

 


 

林欣怡 國立交通大學應用藝術研究所副教授、ICCS 文化研究國際中心研究員
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