《遊戲時間》是喜劇導演賈克大地的第四部電影，也是他電影生涯裡最大膽的一部作品。來自於傳統音樂劇場（music hall）及默片時代所培養出的表演者，賈克大地的喜劇瀰漫著早期電影與戲劇的回憶，並逐漸摻入個人的微調用以符合他的喜劇風格和角色特性描繪。如同他的早期電影，賈克大地喜好描繪日常生活中那些令人困惑的新科技以及都市變遷中所展現的喜劇條件。有鑒於《遊戲時間》所強調的都市景觀和城市漫遊，本論文試圖理解《遊戲時間》作為賈克大地透過漫遊者（flâneur）的漫步傳統—一個與都市生活和現代性的經驗緊緊相聯的重要角色—大規模地再現1960年代身處巴黎的都市經驗。由此看來，《遊戲時間》的電影及敘事之謎看來親近許多了，如同漫遊者的漫步有助於城市的視覺再現，並使得這樣的電影觀看能夠在環景與敘事之間擺盪。許多學者先前亦曾注意到胡洛先生與波特萊爾筆下漫遊者的相似之處，但往往因胡洛先生的笨拙、胡鬧、缺乏個體性等特點而被迫放棄這樣的論點。然而，即使胡洛先生不全然是傳統定義上的漫遊者，《遊戲時間》的電影主題、場景、遊走方式和電影技法等等卻明確地指向了漫遊者式的觀看。在接下來的章節中，筆者將指出電影主題與漫遊者觀看上的相似之處，並對應於漫遊者的各式不同原型與詮釋，協助筆者建立《遊戲時間》中城市漫遊傳統的論點辯證。如此，筆者試圖證明賈克大地電影觀看上的「遊戲」與發明，如何能透過電影裡的漫遊傳統給出合理的解釋。

Playtime is comic actor and director Jacques Tati’s fourth film and most daring attempt at filmmaking. Coming from a generation of entertainers that belong to traditional music halls and the silent film era, Tati’s slapstick comedies pervade of reminiscence for early film and theater, whilst instilled with personal modifications to meet his narrative style and characterization. As with his earlier films, Tati takes interest in illustrating the comical conditions that arise in daily life with the appearance of confusing new technology and disorienting urban transformation. In regard to Playtime’s emphasis on the urban setting and the act of roaming the city, this thesis is an attempt to comprehend Playtime as Tati’s large-scale representation of the 1960s urban experience in Paris through the peripatetic tradition of the flâneur—the essential character associated with experiencing urban life and modernity. Seen in this light, Playtime’s cinematic and narrative enigmas seem more approachable, as the flâneur’s wanderings avail the visual representation of the city and allow it to oscillate in between panorama and narrative. Scholars have previously noticed the resemblance between Hulot’s nomadic ways to that of Baudelaire’s flâneur, but were often forced to relinquish the notion seeing as Hulot is clumsy, slapstick, devoid of individuality and lacking of real importance in Playtime. Nevertheless, apart from the fact that Monsieur Hulot does not seem like the conventional flâneur, the film’s themes, background setting, walking prototypes and cinematic device all point conspicuously to the flâneurian subject. In the following chapters, I address the thematic and cinematic affinities of the film to various interpretations of flânerie to aid my argument that the film inherently belongs to this longstanding Parisian tradition. And in so doing, I attempt to demonstrate how Playtime’s “play” on the flâneurian perspective affords valid explanations for Tati’s challenging and innovative ways of cinematic perception.

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