身體－城市的淡入淡出：侯孝賢與《珈琲時光》

Fade in-Fade out of the Body-City: Hsiao-hsien Hou and Café Lumière

10.6637/CWLQ.2011.40(3).7-37

張小虹(Hsiao-hung Chang)

侯孝賢 ； 《珈琲時光》 ； 身體 ； 城市 ； 淡入 ； 淡出 ； 電車 ； 身動力 ； Hsiao-hsien Hou ； Café Lumière ； body ； city ； fade in ； fade out ； train ； affect

中外文學

40卷3期（2011 / 09 / 01）

7 - 37

繁體中文

「淡入淡出」原本慣為電影鏡頭剪接的專門術語，「淡出」將鏡頭的尾端逐漸轉為黑畫面，而「淡入」則是將鏡頭由黑畫面轉亮。而本篇論文正是想要透過侯孝賢拍東京日常生活的《珈琲時光》，去理論化另一種淡入淡出的可能：「淡」為變化，「出」與「入」為運動，淡入淡出便是「知微之顯」的影像生成哲學。而本論文的重點，便在於如何由「淡入淡出」作為電影美學剪接技法切入，轉換到淡入淡出作為生命影像哲學的可能。全文分成三大部分。第一部份以法國當代理論家余蓮的《淡之頌》切入，凸顯淡作為一種發展與變化的生命力潛在狀態，再帶到《珈琲時光》如何透過「顯運動」（淡入為具體形廓、物事或行動）與「微運動」（淡出為光＝物質＝影像＝運動）的反覆，將身體－城市轉化為光影變化，成就一種「光」的寫「時」主義。第二部份則將討論淡入淡出的焦點推展到《珈琲時光》中的電車，探討為何《珈琲時光》基本上是一部有關城市－電車以流變符號相連接的電影，不僅是電車作為「再現視覺形式」的無所不在，更在於電車作為身體－城市「身動力」的無所不在。第三部份則企圖從聲軌的角度來持續發展淡入淡出的影像哲學，凸顯非人稱的電車聲如何從「人聲中心主義」與「口說中心主義」中解放出來，成為東京城市「音景」中最重要的能量湧動。唯有當淡入淡出從「美學形式」轉化為「影像哲學」，東京做為「身體－城市」才能成為時間之流中不斷發展變化的異質複合體，隨時淡入為東京，隨時淡出為任意空間，讓我們在東京作為「城市再現」之外，同時感受到了不可再現、不可視見的生命影像流變。

As a cinematographic technique, a fade-out causes the picture to darken and disappear gradually and a fade-in is the reverse process to brighten and appear. However, this paper attempts to theorize another fade in-fade out through the film Café Lumière directed by Hsiao-hsien Hou on the everyday life of Tokyo: 〞fade〞 as change; 〞in〞 and 〞out〞 as movement; fade in-fade out as no longer mere editing techniques or aesthetic forms but a new philosophy of becoming in-between the manifest and the latent, the virtual and the actual. The paper will be divided into three parts. Part I will take the concept of the fade in light of François Jullien's In Praise of Blandness as a virtual developing and changing, and use this concept to read the body-city of Café Lumière as a realism of 〞light,〞 constantly shifting between the discernible (fading in as concrete figures, things or actions) and the indiscernible (fading out as light, material, image and movement). Part II will move on to the image of the train to discuss how Café Lumière is basically a film about the city-train connected through 〞-〞 as the sign of becoming. While the train as the 〞visual form of representation〞 is portrayed everywhere in the film, the train as the 〞affect〞 of the body-city is even more haptically felt everywhere in the film. Part III will try to continue the theorization of fade in-fade out by shifting the focus to the soundtrack. It will foreground how the non-personal train sound can be liberated from vococentrism and verbocentrism to become the most important energetic force of the Tokyo soundscape. Only when fade in-fade out is transformed from 〞aesthetic form〞 to 〞image philosophy〞 can Tokyo become an affective assemblage of multiplicity, constantly fading in as Tokyo and fading out as any-space-whatever, a body-city that temporarily stands beyond representation and affects us incessantly with its unrepresentable, invisible flow of Life.

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