《2046》是香港知名電影導演王家衛2004年所發表的第八部作品，同時也是其眾佳作當中，票房相當成功的一部劇情片。《2046》講的是一個關於愛情與回憶的故事。片名中的數字點出王家衛由香港九七回歸所引發的創作靈感，因為「2046」正象徵著中國政府在1997年所提出之「五十年香港政經體制不變」的允諾，而公元2046年即為五十年期限的最後一年。王家衛用他獨特的時空調度，把此項政治承諾轉化成愛情裡永恆而美麗的遺憾。如果這世上有永恆不變的東西，那會是什麼?電影的劇情圍繞著這個問題，而追不回的時間便是尋找答案的關鍵所在。 本論文試圖援引法國作家羅蘭巴特生前最後一部著作《明室攝影札記》中關於照片的論述，探討《2046》中的時間呈現。在1980發表的這本散文集中，巴特特別關注照片上「停留住的時間」，強調「被拍者」與「觀者」的時空差距與情感關係。此論點正好解釋了電影中「2046」這個號碼在男主角筆下的特殊意義：2046年，在「2046」這個地方，所有事物均不會改變。此外，本文更透過王家衛的個人影像風格了解「時間」在此電影裡所扮演的重要角色：它不僅是整部作品敘事結構的靈魂，更是連結《2046》與王家衛先前其他電影作品的關鍵線索。 Released in 2004, 2046 is the Hong Kong filmmaker Wong Kar-wai’s eighth feature, and also one of his successful motion pictures. As can be seen explicitly in the entitled number, ‘‘2046’’ represents the last year of the fifty years deadline in which China had promised that there would be no change in Hong Kong’s political and economic system after this city’s handover to China from Britain on the 1 July, 1997. If there’s something abiding in the world, what would it be? The complicated plot of 2046 focuses on this question inspired from the political promise, and relative to the irreversibility of time. In this thesis we try to look into the representation of Time in 2046 through Roland Barthes’s reflections upon photography in his last work, La chambre claire (1980). Based on the space-time visualized in the photo, Barthes’s opinions help us to clarify the number ‘‘2046’’, which is meant to be a place where things remain immovable against the time passing in the protagonist’s science fiction. Furthermore, we discuss the director Wong’s execution and idiosyncrasy to see how the Time plays as a key role in the whole narrative structure of 2046, but also a key role that connects this film with the other Wong’s movies shot before.
