反転する「場」から観者の亡霊化へ

アピチャッポン《ナブアの亡霊》をめぐって

抄録

In this thesis, I discuss the projected-image practices of Thai filmmaker, Apichatpong Weerasethakul. Above all, his practices have been derived largely from his projectedimage practice, mainly by Ji-hoon Kim. Although these deal with Apichatpong’s projected-image practices in the framework of “cinematic” video installation, he only analyzes feature films so as to derive the characteristics of Apichatpong’s works from them. For this reason, previous research has overlooked his practices wherein the different elements of projected image/screen/viewer are intertwined. I examine the discussion of “cinematic” video installation, which is based on the preceding research, including the relationship between exhibition space and viewers by considering the installation work Phantoms of Nabua. This work attempts to contest the exhibition space and the local (Nabua village in Northeast Thailand). By intertwining multiple light sources/projected images/screens of this work, the viewer in the exhibition space is virtually placed in the local “site.” In this way, the viewer’s “decentralization” is promoted. Furthermore, by casting projection lights on the viewers, they appear as ghosts. Apichatpong’s practices are to reveal the presentation/ representation between cinema and installation. Finally, the overlapping of the “site” and ghosting of the viewer, allow for a reconsideration of the viewer him/herself in the installation art.