都市場景化：台北電影城市意象塑造的皺褶效應

Abstract

當代城市在各種媒介與技術物的中介下，衍伸出豐富多元的地方樣貌。本研究以三部描摩台北的電影《大稻埕》、《一頁台北》與《醉．生夢死》為例，探討電影場景的形塑過程，並從中了解其如何改造或重新建構了地方意象。本研究將此動態的形塑過程，架接上Deleuze的皺褶概念，視物質具有向內包封與向外開展的無窮變異，提出電影的皺褶機制；同時，亦將Ritzer的魅化概念，擴及延伸至電影對都市意象的形塑效果。首先，不同的電影場景涉及了不同的生產機制與過程，包括勘景、搭景、場面調度、攝影、特效、剪接等方法的運用與結合。這種技術性的拼貼手法，將真實地方轉化成為電影場景（cinematic scene），我稱為皺褶機制。其次，電影生產往往創造出有別於真實世界的城市意象，其張力與魅化效果則為我探討的第二層次。 某些地方在電影塑造之下，成為迷人且帶有魅力的地方，令人們好奇或著迷，進而思考自己與都市地方的關係。但某些場景則較為平板，僅為人物與劇情的背景，並未觸動或喚起人對地方記憶或情感的認同。就此，電影對地方的形塑效果，構成電影的魅化效應，它涉及電影的劇情、人物、技術媒介和場景之間能否交織與滲透而形成情感牽繫，構成電影中的地方（cinematic place）。為了理解場景的建構過程，本研究彙整官方檔案、書籍期刊與網路資訊，佐以電影工作者深入訪談，以及取景地點的參與式觀察和測繪，檢視電影場景挪取和改造都市地方的動態過程，包括劇情結構與角色人物設定、拍攝方法、取景地點、場景搭設、鏡頭語言，以及後製剪接等。 研究發現，受地方補助的電影，其場景選擇、產製的內容與塑造的都市意象，往往受制於官方主流價值之文化品味偏好。通過這三部電影的比較，我們可以看見不同權力關係下，電影創作者對取景地點選擇，以迄都市意象塑造的差異，並窺知電影塑造城市意象蘊含的多元可能性。《大稻埕》的場景生產，主要透過於宜蘭傳藝中心搭景與陳設道具，營造1920年代具懷舊氛圍的大稻埕意象。《一頁台北》以當代台北城市為對象，將浪漫愛情鑲嵌在既國際化、又有地方風貌的城市街景。《醉．生夢死》有別於前兩部電影，正面形象並非這部電影創作的主軸，反而以城市邊緣群體為對象。導演透過取景、搭景與布景的道具陳設，展現底層的破敗、殘缺與非正式性的草根生活感。然而，儘管其呈現的城市樣貌並非官方文化治理的主流地方意象，卻因為碰觸都市庶民的生存與情感反而顯得動人，從而是構成台北市或其他都市意象不可或缺的元素。

Under the intermediary of various media and technology, contemporary cities have extended a rich and diverse local appearance. This article focuses on three movies depicting Taipei, including ' Twa-Tiu-Tiann', ' Au Revoir Taipei' and ' Thanatos, Drunk', which explore the shaping process of movie scenes and learn how the film transforms or re-constructs the images of places. In this study, the dynamic shaping process is attached to Deleuze's folding concept, and the material has an infinitely variable nature of inward encapsulation and outward development, so as to propose the folding mechanism of the cinema; Meanwhile, I also expand the enchantment concept from Ritzer, extend to the shaping effect of the film on city imagery. First of all, different film scenes involve different production mechanisms and processes, including the application and combination of methods, such as location scouting, set construction, mise-en-scence, photograph, special effects, and montage. This technical collage technique transforms the real place into a cinematic scene, which I call the folding mechanism. Secondly, film production often creates a city image which is different from the real world. Its tension and enchant effect is the second level that I investigate.

In some places, under the film, it becomes a charming and attractive place, which makes people curious or fascinated, and further think about their relationship with the city. However, some scenes are relatively monotonous, only consisted of the background of characters and plots, and do not touch or even evoke people's recognition of local memories and emotions. In this regard, the shaping effects of the film on the places constitute the enchanting effects of the cinema. It involves whether the film's plot, characters, technical media, and scenes can be intertwined and infiltrated to form an emotional relationship then constitute a cinematic place. In order to understand the construction process of the scene, the investigation is conducted through the compilation of the official archives, books, journalism, periodical, and online information, with in-depth interviews with filmmakers, and participatory observation and mapping the location. To investigate the dynamic process of capturing and transforming city places in the movie scene, including plot structure, character set, framing location, scene setting, shot movement, and post-production editing. This article found that, for local subsidized film, the film selection, the content of the production and the urban image are often subject to the cultural taste preference of the official mainstream value. Through the comparison of these three films, we can see the difference between the film creators' choice of the scene location and the shaping of the imagery of the city under different power relations, and glimpse into the multiple possibilities of the city image. The production of the scene in 'Twa-Tiu-Tiann' is mainly through the set construction and furnishing in the National Center for Traditional Art, to create the image of the Twa-Tiu-Tiann in the nostalgic atmosphere of the 1920s. 'Au Revoir Taipei' targeted in the Taipei City, incorporates romantic love into a city streetscape that is both international and local. 'Thanatos, Drunk' is different from the other two films. The positive image is not the main axis of this film creation. Instead, it is targeted at urban marginal groups. Through the framing, construction, and furnishing, the director shows the grassroots life of the bottom, the broken, the incomplete and the informal. However, although the appearance of the city is not the mainstream image of the official cultural governance, it is attractive because it touches the survival and emotions of the local people, and thus constitutes an indispensable element of the Taipei City or other cities’ images.