現在家庭猶如書寫系統，人與人的關係隨時都在變，而歷經塗消，塗消後再嘗試新的塗寫。但本文討論當代華語影像敘述有關「吃」以及婚外情的論述，所著眼的不是變與塗消所構築的「虛無」，而是在變的旅程中，短暫的歇腳，在隨時解構的過程中，某一瞬間的結構。換句話說，變與塗消是書寫者本體性的認知，生命的場域無時不在變、無時不在塗消；但本文藉由和巴特、德勒茲與其他思想家的對話認為：在感知人生與影像敘述解構的「縫隙」裡，我們如何在稍縱即逝的瞬間裡，看到人文精神的吉光片羽。 In the modern world, the concept of family goes through continuous change, therefore its “writing” subjected to erasure. But concerning the image-narrations of eating and extra-marital relationships in contemporary Chinese films, this paper tries to suggest that change and erasure do not construct a world of void; rather, there looms a momentary stopover during the trip, a transitory structure in the overwhelming deconstruction. In other words, with ontological recognition of the insurmountable change and erasure, based on dialogues with Barthes, Deleuze, and other thinkers, this paper perceives a fleeting light of humanity shining in the disjuncture of deconstruction.
