초록 열기/닫기 버튼
The aim of my essay is to examine the way in which Ming Liang Tsai’s films serve as an instrument to think history and give rise to the politics in relation to a schizoid subjectification. I think his cinema is provocative to all those are in confrontation with Asian modernity, in that his method is to continue history as such against a-historical modernization, the self-cancelling totalization of capitalist modernity. In the process of modernization, all movement-image is fallen into the calculable quantity, definitely reduced to numbers. Tsai always makes a gap between movement-images to interrupt a linear timeline with a long-take. What he wants to show is not the image of the cinema, but rather the working of the cinema as a method. Endorsing Gilles Deleuze, I will approach the way in which the philosophical aspect of Tsai’s films. Deleuze argues that “the film within the film does not signal an end of history, and is no more self-sufficient than the flashback or the dream: it is just a method of working.” For Deleuze, the method of working is “a mode of the crystal-image”, the image that “the point of indiscernibility of the two distinct images, the actual and the virtual, while what we see in the crystal is time itself, a bit of time in the pure state.” From this perspective, I will analyze the “machinic” imagination of Tsai’s films in sustaining time-images, rather a schizoid subject, against the total modernization.
