這一篇論文嘗試用動態顯影與觀影的模式理解阿莫多瓦（Pedro Almodóvar）的《我的母親》（All about My Mother）。論文首先在理論層次上釐清電影「動」人力量與傳統以電影為視覺再現工具所帶來「觀影快感」（visual pleasure）之不同，說明阿莫多瓦在銀幕上創造一個與「時」俱變的動態視界，在解構銀幕身體為器官分子光點色譜的同時試探個人在時間之流中搬演變形的可能。緊接著，論文以《我的母親》中的「母親」主題為例，互文閱讀《我的母親》與克莉絲蒂娃（Julia Kristeva）的論文〈聖母悼歌〉（“Stabat Mater”），除了指出電影中「俗世聖母」的影像在肉身化天主教聖母的同時延異、豐富了傳統「母親」以及銀幕女人的形象，還結合德勒茲（Gilles Deleuze）「變成」（becoming）與拉崗（Jacques Lacan）「真實」（the real）兩概念，提出「逼真女人」（becoming-real woman）的想法，說明阿莫多瓦不創造單一銀幕認同對象，而是將觀影者導入一個德勒茲式如地下莖般向四面八方蔓延、重重疊疊、如假似真、以假逼真的動態影像與慾望網絡。

Attentive to the importance of temporal elements in the production and reception of cinema, this paper studies Pedro Almodóvar’s All about My Mother (1999) as it is made up of moving images to be perceived in and through time. First, by clarifying the difference between a film’s “moving” power and the traditional visual pleasure brought about by classic narrative cinema, I investigate how Almodóvar’s time-images deconstruct screen personages into disorganized and exchangeable organs, cells, and spectrums. I then take the film’s rendition of the “mother” image as an example to illustrate, by way of an intertextual reading of All about My Mother and Julia Kristeva’s “Stabat Mater” (1983), how Almodóvar has put the Catholic conception of Virgin Mary into signifying and imaginary deferrals. More precisely, created alongside many other popular efforts to “flesh out” the saint-like image of Virgin Mary of “neither sex nor death,” All about My Mother has extended the role of mother from mater dolorosa to “becoming-real woman,” the latter an idea derived from Gilles Deleuze’s insights on “becoming” and Jacques Lacan’s theory on “the real.” Instead of creating a singular maternal mirror ideal on the screen, All about My Mother ushers in the temporal flows and molecular becoming of mothers and women, indeed pushing our understanding of self and desire beyond the bounds of reality to border upon the emergence of the Lacanian “real.”