重現憂鬱:拉斯·馮·提爾《驚悚末日》中的憂鬱圖像與繪畫
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2017
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在2011年的法國坎城影展上，丹麥怪才導演拉斯·馮·提爾（Lars von Trier，1956– ）推出電影《驚悚末日》（Melancholia）。除了大量引用藝術史、文學以及其他電影作為素材，藏在這部電影背後的還有來自導演本身罹患抑鬱症的經驗。思考導演對於片名的選擇，不禁使我們想問，為何其所選用的是今日較為少見的憂鬱（melancholia）一字，而非常見的抑鬱（depression）。而對於這個問題的進一步探討，則開啟了整個論述。
將憂鬱（melancholia）放在歷史的脈絡中來理解，可以發現它的矛盾性在於，作為一個病症或是情緒狀態，憂鬱被認為是與天才並列的。這一矛盾理念首次由亞里斯多德（Aristotle，384–322 BC）提出，在文藝復興時期受到馬爾西利奧·費奇諾（Marsilio Ficino，1433–1499）的歌頌，並被杜勒（Albrecht Dürer，1471–1528）以圖像具體呈現。
本論文分兩大章，首先藉由探討憂鬱（melancholia）此一理念的形成與轉變，於第一章檢視拉斯·馮·提爾如何將其矛盾性體現在《驚悚末日》一片之中。並在第二章進一步探討導演於片中直接援引的畫作，這些繪畫出現在婚禮場景之中一個插曲，發生在新娘賈絲汀進到圖書室後開始重新擺放展示在書櫃上的畫作。而除了就繪畫的意涵進行分析並與電影整體理念相扣之外，其中拉斯·馮·提爾藉老彼得·布勒哲爾的《雪中獵人》（Hunters in the Snow），作為對安德烈·塔可夫斯基《索拉力星》（Solaris）一片的致敬，也將在論文的最後一章節中提出，作為電影援引同張繪畫的比較，結束整個論述。
In 2011, Lars von Trier (1956– ), the enfant terrible of Danish cinema, presented his film Melancholia at Festival de Cannes. The film is shaped by the filmmaker’s personal experience as a long term sufferer of depressive disorder and is blended with accumulations of quotations borrowed from art history, literature and cinema. A question arises when one considers the film title: why Lars von Trier chose melancholia instead of depression, a term with which we are more familiar today, as the title? The decision is well worth pondering and thus forms the starting point of argument. Through a discussion of melancholic genius, a paradoxical notion recognized by Aristotle (384–322 BC), glorified by Marsilio Ficino (1433–1499), and visualized by Albrecht Dürer (1471–1528), the thesis sets out to show how the paradoxical nature of melancholia, established as a key feature of its iconography, is pictured in Lars von Trier’s Melancholia, and with an in-depth discussion of the paintings incorporated in the film to elucidate the artistic context out of which the notion is elaborated. Began with a historical retrospect of melancholia, chapter one explores how the whole piece is shaped by melancholia’s paradoxical nature. Chapter two focuses on a certain moment in the film when the protagonist Justine displays the art books in the library, endeavors to unravel the meaning denoted in the present paintings, and suggests a comparison with Andrei Tarkovsky (1932–1986)’s Solaris (1972) through the prominence of Bruegel’s Hunters in the Snow (1565) in both films.
In 2011, Lars von Trier (1956– ), the enfant terrible of Danish cinema, presented his film Melancholia at Festival de Cannes. The film is shaped by the filmmaker’s personal experience as a long term sufferer of depressive disorder and is blended with accumulations of quotations borrowed from art history, literature and cinema. A question arises when one considers the film title: why Lars von Trier chose melancholia instead of depression, a term with which we are more familiar today, as the title? The decision is well worth pondering and thus forms the starting point of argument. Through a discussion of melancholic genius, a paradoxical notion recognized by Aristotle (384–322 BC), glorified by Marsilio Ficino (1433–1499), and visualized by Albrecht Dürer (1471–1528), the thesis sets out to show how the paradoxical nature of melancholia, established as a key feature of its iconography, is pictured in Lars von Trier’s Melancholia, and with an in-depth discussion of the paintings incorporated in the film to elucidate the artistic context out of which the notion is elaborated. Began with a historical retrospect of melancholia, chapter one explores how the whole piece is shaped by melancholia’s paradoxical nature. Chapter two focuses on a certain moment in the film when the protagonist Justine displays the art books in the library, endeavors to unravel the meaning denoted in the present paintings, and suggests a comparison with Andrei Tarkovsky (1932–1986)’s Solaris (1972) through the prominence of Bruegel’s Hunters in the Snow (1565) in both films.
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拉斯·馮·提爾, 土星, 《 憂鬱Ｉ 》, 杜勒, 《雪中獵人》, 《索拉力星》, Lars von Trier, Saturn, Melancholia I, Albrecht Dürer, Hunters in the Snow, Solaris