后电影如何作为新媒体.docVIP

PAGE PAGE 2 台灣的新影像時代－－從新電影到後電影 南藝大造形所助理教授　黃建宏 摘要： 在台灣，雖然整體上在文化創作的資源與政策這兩個面向，似乎一直沒有明顯而徹底的改善，但卻仍見創作者前仆後繼地投入（廣義的）影像創作，甚至在某種程度的＂誤解＂上營造出一種活絡的創作現象。這使得我們面對到一個必要去檢視和思考的問題－－影像的問題，一個在此刻得以同西歐或北美接軌的問題。對於這個問題的介入，我們已經不能也沒有必要＂想像＂著一種西方的延續，而應該面對台灣自身歷史與地域上的事件和問題，此篇論文便基於這樣的思考進行論述。 由於影像事件相當程度映射著該區域社會與文化對於新影像的欲求原由，因此，論文首先處理且進行釐清的就是台灣的影像事件，而這些事件又如何地在台灣的脈絡中創生出「新意」。接著，此論文將論證新電影和當代藝術（後電影這個部份）得以被視為在台灣發生，且其影響明顯可見的兩個重要事件，並經由創作者與作品的個別分析，說明這兩個衍生出來的影像範疇，如何在一特殊脈絡中產生連繫與互動。最後，則以上述的論證，將原本以電影切入的問題意識，提取到「影像」的層次，令我們得以想像，影像在其生產和運作中，連繫著各種經驗的轉化，突穿著這些範疇所既存的限定。 關鍵字：影像、新電影、後電影、侯孝賢、楊德昌、陳界仁、王俊傑、顧世勇、曾御欽 The Age of the New Taiwanese images from the Taiwanese New Film to Post-cinema by HUANG, Chien-hung, Assistant professor of the Institution of Plastic Art of TNNUA Summary： In Taiwan, although in the whole perspective about the cultural resources and cultural policy these two faces, as if always does not have distinct and the thorough improvement, but actually still saw a lot of artists investing themselves into the image creation (in the general sense), even built on some kind of “misunderstanding” one kind of detachable creation phenomenon in some kind of degree. This causes us facing to a necessity to inspect and the ponder question - - image question, the one with that we can connect in this moment with “Western Europe” or “North America”. Regarding this question involvement, we already could not, even unnecessary, imagine that like one kind of heritage from the “West”, but should face the events and the questions of the history and the locality of Taiwan. This paper carried on the elaboration based on such ponder. Because image event can mapping the society of specific region and the necessary of new images to the culture regarding. Therefore, the paper first processes and carries to be clear is Taiwans image event, how do these events create in Taiwans context give birth the fresh idea. In addition. This paper will prove the New Film and contemporary art (like Post-cinema) can regard as two importan