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題名：召喚／釋放禁錮的記憶：德瑞克‧賈曼(DerekJarman)的酷兒影音記憶術
作者：蕭瑞莆
作者(外文)：Hsiao, Juey-fu
校院名稱：輔仁大學
系所名稱：比較文學研究所
指導教授：劉紀蕙
學位類別：博士
出版日期：2004
主題關鍵詞：德瑞克‧賈曼；文藝復興玄密傳統；煉金術；猶太神秘主義；超八影片；《 天使對談》；《浮世繪》；《藍》；Jarman；Derek；Renaissance occult tradition；alchemy；Cabala；Super-8 films；The Angelic Conversation；Caravaggio；Blue
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論文摘要
此論文主張德瑞克．賈曼（Derek Jarman 1942-1994）電影美學之特殊性乃在於，建構與文藝復興玄密思想（煉金與猶太神秘主義）聯繫之酷兒影音記憶術，並且經由超八家庭影片的物理、美學以及哲學層次，實驗用寓言形式重讀經文（歷史），復甦陰性特質以對抗陽具理體中心。也就是說，本論文企圖解釋、補充，甚至修正目前對於賈曼研究所顯現之片面理解，進而闡明賈曼作品之所以能夠關鍵性地在二十世紀二次世界大戰後英國電影圖景留下奇特的印記，即在於他對超八影片之特殊見解，以及根植於此洞見所展開之影片實驗；亦即，我所謂的賈曼酷兒影音記憶術。我認為，賈曼一向念茲在茲的藝術創造與建構酷兒創生主體的連動力，即在此脈絡成長茁壯，演繹新變體。
所謂積極創生主體之實踐，是以超八媒體為基礎，挪用英國文藝復興時期智者強．狄（John Dee 1527-1608）的象形單子（hieroglyphic monad）概念，以及吉歐達諾．布魯諾（Giordano Bruno 1548-1600）的神秘煉金魔法記憶術（hermetic art of mamory），透過疊影、剪接、影片特殊之轉洗與轉速手法，以及，並置影片與演員軀體等方式，實驗屬於賈曼這個世代的影音記憶術。
從賈曼的作品中我們發現，將遭潛抑的玄密傳統所關切的中介能量置入創作，為的是酷異化慾望，並凸顯陰柔面向的創生爆發力，將慾望論述從失去對象的焦點轉化為「『移動，過程，轉形變質』--以慾望來『重新安排、重組身體形式與感官，使主體與軀體消解為他物，某種非習慣之物』」（Alderson 5）。亦即，視慾望為一種觸發持續轉變的能量。酷兒慾望論述與玄密傳統煉金哲學的核心，也就是物質軀體之轉化，在此產生交集。再者，猶太神秘主義式的（cabalistic）解經傳統，啟發賈曼閱讀／書寫經文與特定人物，以影像展開交換排列（permutation）的閱讀／書寫技巧，打造持續轉化、自我解消之創生主體，喚醒我們軀體感官體會玄密經驗（多重系統交會、持續轉換移位與變形）的能力。
我認為，賈曼的酷兒影音記憶術自詮釋歷史經文以拆解國／家神話之中展開，其作品集即是一釋經系統，以其特殊的象徵與操作方式，刺探意識的周邊。在論文所處理之賈曼文本的章節中，我們看到復甦陰性力量、擁抱玄密黑色負／複義，甚至面對家的羅曼史中的淫瀆之愛，其實都是主體建構必要的起點；更重要的是，透過某種創意活動（例如藝術創作與智識養成），我們更應實踐主體消散與身份轉（移變）化的歷程。也就是說，慾望與存有不應僅關乎於對象也不再僅止於對象，而是持續轉移出去的動能。
記憶在賈曼的作品中也不是再現或複述歷史紀錄，而是希望觸動歷史紀錄的潛藏意義，甚至是轉譯遺忘的部分。我認為，跨越至觀影者位置思考主體虛位化的意義，即在於，觀看不再是事件外的經驗，而是一種如同一位親臨現場領受見證的人，甚至成為另一種型式的見證者，「持續」無法言說的危機，一種「感性上的衝擊以及智性上的困惑而造成的危機」（費修珊 7）。這種危機感與賈曼所欲提出的感受／感知十分地親近，也正是賈曼記憶術所希望的效果。此危機的積極性也是開展某種程度之多樣性觀看的契機。
Abstract
This dissertation proposes that the unique contribution Derek Jarman’s film aesthetics make to the post-World War II British film industry and more specifically, to the whole field of independent filmmaking can be best specified by the fact that the body of his filmic works actually constructs a film theory that re-appropriates the most complicated and profound legacy of Renaissance occult tradition, the wisdom of alchemy and Cabala. This film theory and practice are what I call Jarman’s queer art of memory. That is to say, this dissertation dares to explain, supplement, and rectify the somewhat insufficient understanding of Jarman’s work in the contemporary critical and academic fields in order to assert that the significant, though obscure, imprint Jarman has left to this map of the twentieth century ocular-centric culture needs to be re-evaluated through his insight of and experiment on the power of super-8 films. And Jarman’s long-term concern of how imagination and artistic creation can be, and must be, related to a mode of self-fashioning develops and grows from the context of Renaissance occult tradition, and this concern transforms itself through time, according to the issues raised in the immediate cultural scene.
The conception of the so-called regeneration of self is based on the experimentation of super —8 films capturing images of friends and places Jarman likes, which evokes the theories of John Dee’s hieroglyphic monad and Giordano Bruno’s hermetic art of memory. The filmic languages applied to super-8 films, such as super-imposition, editing, stop frames resulted from manipulating the recording speeds are familiar, yet the changes of colors, the disfigured images (or “image agents”), and, most significantly, the images of various reflected lighting, such as mirrors, candles, or torches, bring up unexpected transmutation of both film and its language on physical, aesthetic, and philosophical and theological levels. Thus begins the experimentation of Jarman’s queer art of memory.
We can see from his works that the purpose of evoking the occult theory is to innovate a kind of language that best describes the powers from hybrid, liminal, and intermediary positions. From such sites and with the help they provide, Jarman releases a kind of repressed and forgotten feminine elements so as to activate the process of queering desire. As proposed by Elizabeth Grosz discussed in the article by David Alderson and Linda Anderson, the discourse on desire and loss should be reformulated into a discourse on desire as “‘movement, process, transmutation, ’” and we should use it to “‘rearrange, reorganize the body’s forms and sensations, to make the subject and body as such dissolve into something else, something other than what they are habitually’”. That is, queering desire means to see desire as the energy that inflames a transformative process of becoming. I think this is where queer theory learns best from the essence of alchemical philosophy, and where the so-called pre-modern world uncannily intervenes in the most-debated issue of subject-formation. Furthermore, besides the feminine energy evoked from the liminal site, Jarman’s works also demonstrates in a very personal way the tradition of cabalistic exegesis. That is, Jarman “reads by permutation” some cultural and historical legacies such as William Shakespeare’s sonnets or Italian Baroque painter, Caravaggio, as scriptures. We need to start from these basic realizations in order to appreciate Jarman’s system of art of memory.
Memory according to Jarman can be tricky and it is never used to serve as direct representation of historical documents. Rather, Jarman’s queer art of memory not only challenges the patriarchal and heterosexual ideology of the so-called home/nation, but also tempts to help bring to the fore and translate the language of Michael Foucault’ s “du dehors”. From the perspective of spectatorship, I suggest, Jarman’s queer art of memory hypothesizes a spectator in crisis, which opens up the possibility of diverse spectatorships.
引用書目：
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臺灣人文及社會科學引文索引資料庫

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