綜觀四位早期電影理論家巴拉茲、班雅明、克拉考爾與艾普斯坦，他們 之中有人特別強調面相獨白的敏感可讀，有人執著於「面相知會」的影像辯 證，有人專門探討「為臉而臉」所揭露物質現實中隱而不顯的全新面向，有 人則著重於「上像性」的時間與情感顯影。但整體而言，四人都展現早期電 影論述視萬事萬物皆新奇有趣的「非人本中心」與「非敘事主導」。四位論 述者不約而同讓「電影的臉」以非人本中心、去封閉主體的方式擴散流盪。
雖說其主要的著作與文章大多完成於一九二○、三○年代，但在本文重新閱 讀與重新詮釋的過程中，卻也使其與當代電影論述者巴特、德勒茲、歐蒙、
陶席格、布魯若等人順利連線，成為質疑電影理論「語言轉向」的另一種可 能、另一種出發，讓「面相」再次成為感官毗鄰、時間流變的表面，成為蓄 勢待發的情感強度，成為一發不可收拾的接觸傳染。
引用書目
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試放慢此轉化過程，企圖探討「面相殘存」作為一種物質殘存的可能性。此外，在德勒茲 的系統中，人本中心的「情感」（emotion）與非人本中心「動情力」（affect）劃分清晰，
而本文則是企圖在「情感」與「動情力」之間滑動，以凸顯「觸動」與「體現」可能的身 體模擬與感官毗鄰。本文中的「體現」並非重蹈人本主義的封閉主體想像，此「體現」乃 指向情感強度的直接作用於身體（尤其是身體的皮膚表面）。換言之，此身體「體現」不 導向身體「空間化疆界」的強化，反倒導向身體的「動態區辨」。
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張小虹，國立台灣大學外國語文學系教授。