在《路邊野餐》中，畢贛透過緩慢的鏡頭運動、非線性敘事、符號與意象之使用、詩歌朗誦，以及少量對白架構出一獨特視野，並成就一種對科技化時代之詩性抗衡。其中，現代廢墟之場景設定與其敘事架構是相輔相成的，在此充滿多維度感官經驗之場域，創作者、觀眾，以及電影角色皆立身於意義的多重詮釋過程。此論文旨在探討人與環境之非二元動態辯證關係，並以梅洛龐蒂哲學作為切入視角，據此強調「曖昧」(ambiguity) 之力道，進而提倡一種詩性的觀看態度。本論文由緒論與三個章節構成。在緒論的部分，我將本論文之架構進行簡單的梳理，並透過文獻回顧以及研究方法，將《路邊野餐》以及梅洛龐蒂觀點之相容性進行探討，以呈現論文探討對象之切要性。在第一章，我則會深入探究電影中之曖昧現象，並以畢贛運用「碎片」之手法，觀察充斥於日常生活中的「衡量」(evaluation) 過程。在第二章，重點則延伸至該象徵性碎片所在之場域：現代廢墟。其「跨界」之特殊性不僅使其成為梅洛龐蒂體現觀 (embodiment) 之理想的探索對象，更在畢贛之剪輯和敘事手法中達到了另外一層意義。在第三章，我進而將《路邊野餐》視為一蘊含「廢墟情境」之生活世界，並藉由梅洛龐蒂對於「情境」 (situation) 以及「肉」 (flesh) 之詮釋，強調環境與身體之相遇，以及生命經驗之豐富性。

In Kaili Blues, Bi Gan employs slow camera movement, non-linear narrative, symbolic objects, recitation of poetry, and minimal dialogue to construct distinctive cinematic landscapes that resonate with the story development. In the realms of multi-dimensional perceptual experiences, the parties involved all participate in the manifold interpretive processes of the meaning of life. This thesis accordingly conducts a reading of the cinematic dynamic relationships between human perception and the world, and aims at uncovering the poetic forces of “ambiguity.” This thesis is composed of an introduction and three chapters. In the Introduction, I sketch out the overall thesis structure and explicate on the compatibility of Kaili Blues and Merleau-Ponty’s philosophy. In Chapter One, I probe into the ambiguous phenomena in the film, and focus on Bi’s adoption of “fragments” as correspondences in the film. In Chapter Two, I argue that modern ruins could be considered as embodied spaces through Merleau-Pontian embodiment, with Bi’s directorial methodology incorporated into the discussions. In Chapter Three, I further view of Kaili Blues representative of the lived world with “ruinous situations.” Through Merleau-Ponty’s notions of situation and flesh, I conclude that the constant dialectical encounters among worldly phenomena can be finely observed in Kaili Blues, and we should similarly pay attention to the richness of our everyday perceptual experiences.

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