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Tsai Ming-‐ Liangs Ansikter Tsai Ming- liangs ansikter - Auteuren, kunstfilmskaperen og multikunstneren Av Helene Eggen Masteroppgave i medievitenskap Veileder: Ove Solum Institutt for medier og kommunikasjon Universitetet i Oslo Høsten 2013 i “Throughout my career, the most important question for me as a filmmaker is ‘what is film for?’ Obviously, for me it’s about self-discovery; this requires a very personal subject, such as my father. Hsiao-kang’s resemblance to him has thus become the source of my inspiration and the focal point of my creative energy – he’s a story line I faithfully follow.”1 1 Tsai Ming-liang i intervju med Eric Morse 2011. Bilde på forsiden: Av Tsai Ming-liang i Louvre. Tatt av Asia Society forbindelse med intervjuserien Faces of Tsai Ming-Liang. ii Sammendrag Masteroppgaven Tsai Ming-liangs ansikter- Auteuren, kunstfilmskaperen og multikunstneren handler om Tsai Ming-liangs filmatiske univers, sett fra et auteur-, avant-garde-, kunst- og kunstfilmperspektiv. Den består av en grundig analyse av tre av hans i alt ti spillefilmer: Vive L’amour (1994), What time is it over there? (2001) og Face (Visage, 2009), der den sistnevnte vil være hovedfokus, da den er Tsais mest ambisiøse og nyskapende film så langt. Oppgaven gir leseren et inngående og komplekst bilde av Tsai som en moderne auteur og global kunstfilmskaper med et særegent, eksperimentelt, paradoksalt, personlig og selvrefleksivt filmspråk. Jeg utvider dette perspektivet ved å trekke inn Tsai Ming-liangs mer ukjente virke utover filmmediet og ved å argumentere for at det er kontinuitet og intertekstualitet på tvers av, ikke bare hans filmografi, men hele hans kunstneriske virke. Jeg vil trekke inn både kunstfilmskapere og billedkunstnere for å plassere Tsai i en bredere kunst- og filmhistorisk kontekst som multikunstner. Videre vil jeg argumentere for at Face er nyskapende for film og kunst, dette ved å utforske, utfordre og forene filmsjangre og kunstformer. Abstract The master thesis Tsai Ming-liangs faces- Auteur, artfilm director and multiartist is about Tsai Ming-liang’s filmatic universe, seen from an auteur-, avant-garde- and artfilm perspective. It consists of an in depht analysis of three of his in all ten fiction films: Vive L’amour (1994), What time is it over there? (2001) og Face (Visage, 2009), where Face will be the main focus as it is his most ambitious and innovative film so far. The thesis gives the reader a thourough and complex picture of Tsai as a modern auteur and global artfilm director with a distinctive, experimental, paradoxical, personal and self-reflecting film language. I will further develop this perspective by including Tsai Ming-liang’s more unknown work beyond the film medium and by arguing that there is continuity and intertextuality in not only his whole filmography but in all of his artistic work. To place Tsai in a wider art- and filmhistorical context, as a multiartist, I will look at other artfilm directors and visual artists. I will further discuss how Face is innovative for film and art by exploring, challenging and unifying film genres and artforms. iii Forord Oppgaven har blitt til i en lang, omfattende og inspirerende prosess, der jeg ved å oppdage og studere Tsai Ming-liangs filmunivers, har fått større innsikt i taiwansk, øst- asiatisk og global kunstfilm. Ideen til oppgaven ble formet under et utvekslingssemester ved UCSD høsten 2009, der en professor og filmskaper ved navn Jean- Pierre Rehm viste Tsai Ming- liangs The Wayward Cloud (2005), som del av faget “Director series”. Et fag der vi så og studerte film ut ifra et globalt auteur-, kunst- og avant-garde-perspektiv, med fokus på filmskaperen som kunstner, noe jeg også søker å gjøre i denne oppgaven. Med sitt paradoksale, kontroversielle og unike uttrykk, var The Wayward Cloud ulik alt jeg hadde sett av film tidligere, samtidig har den tydelige fellestrekk med avant-garde- og kunstfilm. Her startet min interesse for og studie av Tsai, en interesse som har vedvart og vokst i arbeidet med oppgaven. Arbeidet har inkludert lang og kontinuerlig research, der jeg har sett gjennom Tsais filmer, taiwansk film og en rekke internasjonale kunstfilmer, samt et opphold i Taipei. Det har vært en spennende prosess og reise som ikke bare har brakt meg dypere inn i Tsais univers, men også utvidet mitt kunst- og filmperspektiv. Takk til veileder Ove Solum for gode, detaljerte og konstruktive tilbakemeldinger frem til siste slutt. Veiledningen har vært til stor hjelp og guidet meg gjennom arbeidet i en oppgave som har vært omfattende og tidkrevende. Jeg vil også takke Jean- Pierre Rehm, som introduserte meg for Tsai Ming-liang og inspirerte meg til å fordype meg i hans univers, noe som dannet grunnlaget for denne oppgaven. Stor takk til min mor og far, som har vært en fantastisk god støtte og vist stor interesse for mitt prosjekt fra begynnelse til slutt i form av gjennomlesninger i oppgavens ulike faser, lange samtaler og ved å muliggjøre reisen til Taipei og stille opp som reisefølge. En inspirerende reise som innebar hele dager på filmhuset, museer, filmfestivalen, Tsais café og diverse bokhandlere på jakt etter spesielle filmer og bøker som har vært viktig for oppgaven. Den gav meg økt forståelse for og forsterket mitt inntrykk av Tsais kunstnerpraksis som unikt helhetlig og bidro til å gjøre mitt masterprosjekt levende. iv Til slutt en stor og varm takk til Kristoffer. Du dukket opp og viste en sjelden interesse og forståelse for mitt prosjekt og bidro med en grundig lesning og korrektur, men mest av alt bidro du med din kjærlighet, tålmodighet og støtte. v INNHOLDSFORTEGNELSE 1. INNLEDNING, METODE, BAKGRUNN OG RESEARCH...........................................................1 1.1. TIDLIGERE STUDIER OM TSAI.....................................................................................................................3 1.2. PROBLEMSTILLINGER OG MÅL MED OPPGAVEN ......................................................................................3 1.3. METODE: TEKSTANALYSE OG OPPGAVENS OPPBYGGING ......................................................................4 1.4. TSAI MING-LIANG OG HANS KARRIERE, LIV, KUNST OG VIRKE .............................................................9 1.5. TAIWANSK FILM, NYBØLGEFILM OG GLOBAL KUNSTFILM .................................................................. 13 1.6. RESEARcH I TAIPEI: JUNI-JULI 2013..................................................................................................... 16 1.6.1. TAIPEI FILM FESTIVAL 2013 OG SPOT-TAIPEI FILM HOUSE – MØTE MED TAIWANSK FILM OG FILMKULTUR............................................................................................................................................................ 17 1.6.2. TSAI MING-LIANGS KAFÉ – MØTE MED TSAIS PERSONLIGE UNIVERS .......................................... 19 2. TEORETISKE PERSPEKTIVER OG ANALYTISKE BEGREPER.......................................... 21 2.1. KRYSSKULTURELL TAIWANSK FILM – DEN TRANSNASJONALE OG HYBRIDE KUNSTFILMEN ........ 21 2.2. HYBRID KUNSTFILMSPRÅK- AUTEUR, KUNST-, OG AVANT-GARDE FILM ......................................... 27 2.3. KINESISK OG JAPANSK VISUELL KUNST OG FILM................................................................................... 28 2.4. AUTEUREN .................................................................................................................................................. 30 2.5. TSAI OM TSAI.............................................................................................................................................. 32 2.6. BORDWELLS ART cINEMA NARRATION OG DEN GLOBALE KUNSTFILMEN....................................... 37 2.7. SLOW cINEMA............................................................................................................................................ 43 2.8. AVANT-GARDE- FILM ................................................................................................................................ 45 2.8.1. FILM, ET VISUELT MEDIUM................................................................................................................... 45 2.8.2. AVANT- GARDE-FILM OG ADAPTASJONSTEORI ................................................................................. 46 2.9. HYBRID AV KUNSTFORMER – PERFORMANcE- OG INSTALLASJONSKUNST ..................................... 48 2.10. KONKLUSJON............................................................................................................................................ 49 3. ANALYSE ........................................................................................................................................ 50 3.1. VIVE L’AMOUR............................................................................................................................................ 51 3.1.1. HANDLING OG PRISER ........................................................................................................................... 51 3.1.2. TEMATISKE ELEMENTER OG VISUELLE MOTIVER............................................................................. 52 3.1.3. STIL – ART CINEMA NARRATION OG SLOW cINEMA ......................................................................... 52 3.1.4. ANTONIONI OG TSAIS FILMLANDSKAP – GLOBALT KUNSTFILMSPRÅK......................................... 56 3.1.5. AVSLUTNING – ØDELEGGELSE OG FORNYELSE.................................................................................. 58 3.2. WHAT TIME IS IT OVER THERE?.............................................................................................................
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