研究論文

『出席與缺席—從《巴黎‧德州》中的照片談起』

2010

王怡婷、賴雯淑『出席與缺席—從《巴黎‧德州》中的照片談起』,第19期,pp.33-58,4月
,2010年,現代美術學報,台北:台北市立美術館

摘要
本文將「電影中的照片」獨立成一種特殊的文本類型,試圖從攝影本身的曖 昧性質出發,闡釋
文本意義的出席與缺席。研究文本來自德國導演文‧溫德斯 (Wim Wenders)在 1983 年拍攝
的電影作品《巴黎‧德州》(Paris, Texas)中的三 組照片。班雅明堅稱電影使人們得以經歷意
識的冒險之旅,然而也同時取代了觀 者的思路;電影中的照片使變動的影像暫停,其與生俱來
的「沈思性」為觀者帶 來一個得以自主想像和思索的環境。《巴黎‧德州》中的照片現身∕隱
身於電影脈 絡裡,為我們證明了創作者的、時間的、真相的以及想像的出席與缺席;電影本
身因為照片的揭示更為完整,而電影中的照片亦因電影與攝影兩種形式上的互文 關連,帶來了
多重詮釋的可能。

關鍵詞:電影、攝影、出席、缺席、溫德斯

Abstract
In this study, “photographs in films” is seen as a unique type of text. By centering on the ambiguity of
photography itself, the paper aims at discussing the presence and absence of meaning on the three sets
of photographs in the film “Paris, Texas” by German director Wim Wenders from 1983. Walter
Benjamin claims that films can lead the viewer into a conscious journey. However, it also dominates
the viewer’s train of thought. The photographs in films stop the continuously flowing images, and their
meditative nature provides the viewer a space for imagination and contemplation. Their appearing and
disappearing in the context of “Paris, Texas” bear witness to the presence and absence of the director,
time, actual state of affairs, and imagination. The film has become more complete because of the
discovery of the implicit meanings in the photographs. In addition, multiple interpretations become
possible due to the constant dialogue between film and photography.

Keywords: film, photography, presence, absence, Wim Wenders