영화가 있던 곳에서 배회하기 -<안녕, 용문객잔>(2003)이후 차이밍량의 작품을 중심으로-

Abstract

Since Goodbye, Dragon Inn(2003), Tsai Ming-liang’s filmic interest have gradually moved from the traditional concept of feature film to various forms of exhibition video, installation, and performance. His recent works have migrated from the movie theatre to the museum and gallery, crossing the boundaries between the film and its surrounding forms. It is the so-called ‘slow cinema’ discourse that have usually been discussed to understand the characteristics of his recent works. ‘Slow cinema’ is considered as an artistic movement of resistance to ideology of speed which modernity have pursued since the 20th century, and also a cinematic experiment to provide a new experience to perceive time in a different way. It is Lee Kang-sheng that can render Tsai Ming-liang’s a series of slow movies to work. Lee is not merely an actor par excellence in Tsai’s works, but a being of artwork per se, because he is irreplaceable in Tsai’s works. Without Lee, Tsai literally can’t make his works. Since Stray Dogs(2013) Tsai Ming-liang’s works have been not only shown in the movie theatres, but exhibited in the art galleries, screened on the billboards in the streets, and performed on the stages. In a sense, his works seem to wander around like a ghost after it left the movie theatre. How can we understand Tsai’s recent works which wander around where cinema used to be? This paper attempts to explore a tendency of contemporary art cinema, examining the characteristics of Tsai Ming-liang’s recent works since Goodbye, Dragon Inn.