在《天邊一朵雲》中，蔡明亮諧擬A片同時也建構了一個微型的消費社會。本論文研究焦點集中於《天邊一朵雲》中的女主角—陳湘琪，因她體現了消費社會中透過影像而被媒體化的社會關係。 本論文將探討大眾媒體在消費社會中對人的欲/慾望建構之影響。因此，本論文分成三個部份。首先，在論文的第一部份，我們將透過羅蘭˙巴特的符號系統來釐清片中隱喻物體的意義，並將其做符號分類。此外，我們也將融入其他學者研究蔡明亮電影的觀點。其次，在論文的第二部份，我們將耙梳馬克思理論脈絡的演變：從亨利˙列斐伏爾的著作《日常生活批判》中商品的角度作為起點，銜接居依˙德波在《景觀社會》中景觀的概念，並連結至尚˙布希亞在《消費社會》中符碼的觀點。與此同時，我們將以此理論脈絡來探討《天邊一朵雲》中大眾媒體與人欲/慾望建構的關係。最後，在論文的第三部份，除了將馬克思理論應用在分析《天邊一朵雲》中陳湘琪的欲/慾望建構之外，我們也將檢視該片中蔡明亮的電影語言，並以此來了解蔡明亮透過其藝術作品所提出的批判。 In The Wayward Cloud, Tsai Ming-liang parodies pornographic films and creates a microcosm of the consumer society. Among the four characters in the film, my study focuses on the female protagonist, Chen Shiang-chyi, because she corresponds to the example of consumers mediatized by images. Through this character, I will try to analyze the mass media’s influence on the constitution of the human desires in the consumer society. This thesis is composed of three parts. First, in light of Roland Barthes’s sign system, I attempt to elucidate the significations of metaphorized objects in this highly symbolized film and classify them according to their meaning of signs. Furthermore, I will integrate various points of view proposed by researchers who study also Tsai Ming-liang’s films. Second, I will outline the evolution of the Marxist theories, which start from the notion of merchandise in Henri Lefebvre’s Critique of Everyday Life to the idea of the spectacle in Guy Debord’s The Society of Spectacle, and followed by the concept of the codes in Jean Baudrillard’s The Consumer Society. In addition, I will point a parallel between these three Marxist theories and the constitution of the human desires. Finally, I will apply the theories to analyze Chen Siang-chyi’s desires in The Wayward Cloud and to examine Tsai Ming-liang’s cinematographic language that allow the audience to understand his critique.
