本論文旨在對電影藝術中所表現的主體性進行一次重新考量，藉此展示出這種流動的主體與運動影像中客體性的新關係。這是建立在將電影作為其製作者個體思維延伸的理念之上的。也就是說，電影並不僅僅是廣泛意義上由意識做出的投射，也不是那種被後結構主義所定義的自成一體的影像，而是真實展現了人類無意識下的感知。進而我將套用德勒茲的術語“去領域化”，來說明這種潛藏在電影製作下的主體性運作。

在序言部分，我將簡要概括主體性與無意識在傳統概念中的定義，並在接下來的三個章節中，通過三部電影比較它們同這種去領域化的主體性之差異的三個面向。

在第一章裡，電影「食人魔」（2017）中的兩位主人公展示了在食人與受虐行為中的情感。我將這種情感與影像的特寫鏡頭連結成一種情動影像的概念，並進而詳述此種影像是如何通過機器化無意識傳達的。

在第二個章節，我將重點分析電影「失衡生活」（1982）中的背景音樂以及蒙太奇影像。為此我將套用德勒茲的疊韻概念，以及米歇尔·希翁的聲音理論來深入討論。最後，將這種「聲」、「影」協同的影像以主體無意識為載體來觀察社會現代性的自然面向。

在最後一章中，我將解讀電影「利維坦」（2012）的影像如何傳達了唐娜·哈拉維的“怪物世”和瓜達里的“混沌宇宙”概念。進而討論電影中劇烈晃動的攝影機運動是如何傳達一種無意識宇宙中人與周圍的環境逃脫出人類紀視角，而產生出一種共生關係的。這種關係最終也是去領域化主體性在開放的整體中所附載的命運。

My thesis is a re-evaluation of the embodiment of subjectivity in cinematic artworks, in order to demonstrate a new relationship between an indeteminate subject and the objective moving images. My idea is these films can be seen as extensions of their makers’ individual mind. In other words, films are not projections of any self-aware consciousness univocally, or any causa sui images, which can fit into any post-structuralism explanation either. These images are windows for their filmmakers to exhibit their perceptions of human unconscious. Since there are no specific terms for this operation of subjectivity, I want to borrow a Deleuzian word “Deterritorialization” to describe this latent operation of subjectivity within the films produced by it.

In the introduction, I will condense a comprehensively theoretical background of subjectivities and unconscious and the differentiating aspects of the deterritorializing subjectivities I will examine in the following chapters.

In chapter one, the deterritorializing subjectivities of the protagonists of Caniba provide the cannibalistic affect and masochistic affect respectively. I will bridge these affects to the style of the extreme close-up in the film to form sensational images. And to elaborate how these new images convey the mechanic unconscious.

In the second chapter, I will focus on the composition of the musical rhythms and within the combining effect of the purely visual images in the film Koyaanisqatsi. In this account, the methodology I intend to use are the Deleuzian refrain and the functions of sound images supported by Michel Chion’s relevant theory and the montage. Thereupon I will try to connect sound images to the visual images within a subjective unconscious, which is synergistic existence in both ancient time originally and human society in modernism.

In the last chapter, the film Levithan will proffer a picture for re-reading both chthulucene in a Haraway’s sense and chaosmosis in a Guattarian sense. And in the film I chosen the characteristic of the cinematography provide a vertigo movement of shooting for unfettering the relationship of sympoesis from an anthropologic point of view to a universal unconscious. By coupling both modes of the content and form in the film, the deterritorializing subjectivity arrives in its destination in this universal and open whole.

Introduction 1
Territorialized Subjectivity 7 
Beyond Conventional Subjectivity and Representation 11 
The Unconscious Mechanism of Subjectivity 14 
Deterritorializing Subjectivity 18
Interlude: Alterity of Cinematography 21
Chapter One: Sensational Image and Unconscious Affect 24
Cannibalistic Affect and Masochistic Affect 25
Sensational Image 36
Machinic Unconscious I: Auto-affection 42
Chapter Two: Violent Image in Transversal Refrain 45
Refrain in Sound Image 48
Visual Rhythm through Montage 52
Sound Image v.s. Visual Image 60
Machinic Unconscious II: Transversality 62
Chapter Three: Vertigo Image and Chaosmosis 67
Percepts as Nonhuman Sympoesis 72
Body without Organs 76
Machinic Unconscious III: Chaosmosis 80
Conclusion 83
Works Cited 87

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