影像的行動－論陳界仁的影片藝術（2002-2007）

Abstract

A series of Chen Chieh-Jen's silent and slow-pacing “Film Art” from 2002 to 2007 are neither documentary nor art cinema that examine the nature of movies and break the rules from old models. Chen's “Film Art” sets up a new image for contemporary artists by the appropriation and even going beyond the field of the cinematic media. Contrary to the objective shooting of a documentary, Chen faces disappearing scenes or disregarded events while tries to reveal and create his art action. The notion of Chen's film art can go back to his early body performance in the 1980s and the “computer painting” and photographic works such as Revolt in The Soul & Body and The Twelve Karmas under the City in the 1990s. From Chen's early to recent film works, we have a glance of his ambition to intervene and connect the issues of power, history, memory and social concern in the modern times. The thesis focuses on Chen Chieh-Jen’s Film Art works from 2002 to 2007: Lingchi-Echoes of a Historical Photograph, Factory, Bade Area, On Going, and The Route. These film works explore the following questions: How did Chen fantastically resist by the approach of image aesthetics and non-narration? How did the aesthetic style and political action in his art works bring in the issue of intertextuality? How did Chen set up non-linguistic gaze (photographic gaze) by using silent and slow-pacing approach? In this kind of presentation, Chen not only connects the global and Taiwanese movie-shooting experiences, but also extends different time-and-space narration and body-allegory that may lead to potential resistance of image itself or the relationship between images and the audience.