淡江大學覺生紀念圖書館 (TKU Library)

系統識別號 U0002-1507201912133100
中文論文名稱 電影中去領域化的主體性:無意識與影像之多樣化可能
英文論文名稱 Deterritorializing Subjectivity in Cinema: The Possible Variety of Unconscious and Image
校院名稱 淡江大學
系所名稱(中) 英文學系碩士班
系所名稱(英) Department of English
學年度 107
學期 2
出版年 108
研究生中文姓名 樊奕翔
研究生英文姓名 Yi-xiang Fan
學號 604114016
學位類別 碩士
語文別 英文
口試日期 2019-06-21
論文頁數 90頁
口試委員 指導教授-涂銘宏
中文關鍵字 去領域化  自感  橫截  混沌宇宙 
英文關鍵字 deterritorializing  auto-affection  transversality  chaosmosis 
學科別分類 學科別人文學語言文學
中文摘要 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。




英文摘要 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.
論文目次 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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Richmond, Scott C. “Proprioception, the Écart: Koyaanisqatsi” Cinema’s Bodily Illusions. Minneapolis: U of Minnesota P, 2016. Print.
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Winston, Brain. Claiming The Real: the Griersonian Documentary and Its Legitimations. London: Bfi Publishing,1999. Print.
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