本文從拉岡 (Jacques Lacan, 1901-1981) 的精神分析理論出發，論述蔡明亮電影對於 難以蠡測的真實域的持續關注。蔡明亮致力於呈現世界的廢墟面貌，生活的失敗及生命 的破碎經驗，揭示符號大他者（特別是現代性符號秩序）的內在匱乏。蔡明亮近期電影 中對時間之「慢」的獨特表達，也突出了他對不可忍受的創傷性真實的大膽探索。同樣 值得注意的是，這種創傷性體現在對於痛感與快感的極端表現中，無論是疾病還是瘟疫 或者亂倫，蔡明亮都以其風格鮮明的影像與敘事形式淋漓盡致地鋪展出令人不堪的真 實。從蔡明亮電影所涉及的性愛、死亡和幽靈主題來看，主體欲望往往成為一種朝向絕 爽 (jouissance) 的不懈驅力，在享受徵兆的過程中穿越了符號化的幻想，體驗了抵達創 傷性真實的心靈震盪。

From the Lacanian perspective, this essay discusses Tsai Ming-liang’s 蔡明亮 constant concern for the unfathomable real in his filmic oeuvre. Tsai strives to demonstrate ruins, failures and fragmented experiences of life through his lens, revealing the inner lack of the symbolic Other (especially the symbolic order of modernity). His expression of slowness in his recent works boldly explores the unbearable traumatic real. It is also notable that his intense presentation of disease, plague or incest simultaneously touches upon pleasure and pain with his unique style. Within his favorite themes such as sex, death and ghosts, the subjective desire usually becomes the drive towards jouissance by traversing the symbolized fantasy through the enjoyment of the symptoms, thereby experiencing the spiritual tremor that interrogates the traumatic real.