談玉儀。＜《2046》恍惚交錯的記憶擬像＞。《電影欣賞學刊》。第130期（96年3月）: 136-55。

摘要

　本文試圖探討香港導演王家衛《2046》影片中所呈現後現代都會男女恍惚交錯的感情際遇，並論及影片中所傳達香港這多元文化城市的後都會斑駁影像。在王家衛的視覺影像中，可察覺到類似詹明信（Fredric Jameson）所描述的都會恣仿美學風格與布希亞（Jean Baudrillard）「擬像」（simulation）的形構過程：浮世男女遊蕩於後現代城市的黑暗角落，在擦身而過的際遇中，歷經自我分裂、撕扯後，重新尋找定位，建構新的主體。筆者援引布希亞「擬像」並輔以詹明信在《後現代主義》（Postmodernism）一書中所論述之「恣仿」（pastiche）、「時間性精神分裂症」（schizophrenic temporality）等概念作為本文探討後現代景觀思維的主要理論架構。布希亞的相關論點約括虛擬與真實的光點，有助於淘洗王家衛後現代影像城市中擬像與真實體之差異；詹明信的理論貼切地印證置身於後現代城市中的都市人因時空的急速轉變，產生身分認同的迷惘。王家衛在《2046》影像中並置懷舊與科幻的世界，恣仿出人與都市互動的時空擬像，在杯觥交錯的擬像世界中，建構出香港多元化的異質時空，引發文化想像的深處回憶。

關鍵字：恣仿、時間性精神分裂症、擬像、記憶、猥褻的世界

Memory in the World of Simulation: Pastiche and Schizophrenia in 2046

By Yuh-yi Tan

Abstract

　The essay proposes to detail the visual narrative of time-space continuum presented in the film 2046, made by the Hong Kong director Wang Kar-wei, whose distinguished postmodernist features have been shown by a self-conscious and largely fictional synthesis of memory and imagination in the world of simulation. In 2046, the 1960s writer-protagonist Chow imagines himself as a Japanese who lives in the future year of 2046, devastatingly looking to recapture lost memories. In many ways, the postmodernist visual aesthetic embedded in 2046 recalls Jean Baudrillard's concepts of simulation presented in Simulacra and Simulation. Not merely suggesting that postmodernist culture is artificially saturated by imagery, infused with media, Baudrillard further advances that we have lost the ability to make sense of distinction between nature and artifice, and that something we recognize as real is actually a simulation of reality. To begin with, in the first part entitled "Spatial Pastiche," I will concentrate the focus on Jameson's notion of pastiche proposed in Postmodernism, then, discuss how the Jameson's pastiche has been treated as a new kind of spatial language to deal with a perspective on both the worlds of simulation in the future 2046 and 1960s, focusing on the exploration of an intertextual relation between two scientific sub-texts 2046 and 2047 in Chow's unconscious world. In the second part, the Jameson's "schizophrenic temporality" is beneficial to understand the writer-protagonist's sentimental return to the world of mental splitting. In addition, through Chow's time-splitting, viewers, thus, regard the passage of time as an elastic continuum filled with myriad perceptual possibilities. By focusing on the leitmotif of unrequited love in a mode of time-space continuum, Wong instantly poses a postmodernist visual interpretation regarding how the self responds to a difficult reality with an imaginary language from the memory.

Key Words: pastiche, schizophrenic temporality, simulation, memory, the world of obscenity