tag:blogger.com,1999:blog-66948948800608936862024-03-14T20:32:22.302+08:00全世界的記憶藝文寫作的逃逸路線綠可頌http://www.blogger.com/profile/00316734084781926089noreply@blogger.comBlogger50125tag:blogger.com,1999:blog-6694894880060893686.post-53554443630226945512021-03-30T19:08:00.002+08:002021-03-30T20:24:13.043+08:00雨.傘.歌舞片<div style="text-align: center;"><br></div><div style="text-align: center;"><span style="text-align: left;"><br></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk_JnYn9HJ5_4ZeugRJPdmw2QYkZEC5CTe-bYuDF-CDA5eaJZNvgo8TT0OL99agiWWdod-puu_jIVDINlD5krMfGbI03549GSWMEJ8ef1ue5rFmZWE7VAdC3VSIEN9WTwYLzWP5x-73uIc/s600/12%25E8%2593%25AE%25E8%258A%25B101.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk_JnYn9HJ5_4ZeugRJPdmw2QYkZEC5CTe-bYuDF-CDA5eaJZNvgo8TT0OL99agiWWdod-puu_jIVDINlD5krMfGbI03549GSWMEJ8ef1ue5rFmZWE7VAdC3VSIEN9WTwYLzWP5x-73uIc/s16000/12%25E8%2593%25AE%25E8%258A%25B101.jpg"></a></div><br><p>文/蘇蔚婧</p><h3 style="text-align: left;">之一 </h3><p style="text-align: justify;">陳子謙(Royston Tan)是近年受國際影壇注目的新加坡新銳導演。他有兩部以「歌台」文化為背景的影片,分別是《881》(2006)與《12蓮花》(2008)。</p><p style="text-align: justify;">歌台在新加坡當地原本是中元節為了讓好兄弟開心的歌舞表演,表演形式就像台灣喜宴、廟會、工地等處的野台秀一樣,由藝人輪番上陣表演歌舞,主持人串場之餘還會奉送笑話,整體來說就是俗擱有力,台上台下熱鬧洋洋的庶民娛樂場合。</p><span></span><a href="http://allthememory.blogspot.com/2021/03/blog-post.html#more">繼續閱讀全文 »</a>蘇蔚婧http://www.blogger.com/profile/18174102774020675476noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-50421402617284465252021-02-26T23:32:00.005+08:002021-02-26T23:43:38.788+08:00溫柔,深藏乍現—《Dele》刪除人生<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhabFzyhgtqnK2h0NmH2DryqtoU2_ZUVo8QYKyPCYDuyrpwGdStILloQU66pTjZzMWhnR3dnYaIMBD82KaNR3EF8um66lkhq3_FLLDjKtVMTrt5WwVOTXRGzWeS-C0sXxzgzgwQLJl-c7NW/s1000/%25E5%2588%25AA%25E9%2599%25A4%25E4%25BA%25BA%25E7%2594%259F.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="666" data-original-width="1000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhabFzyhgtqnK2h0NmH2DryqtoU2_ZUVo8QYKyPCYDuyrpwGdStILloQU66pTjZzMWhnR3dnYaIMBD82KaNR3EF8um66lkhq3_FLLDjKtVMTrt5WwVOTXRGzWeS-C0sXxzgzgwQLJl-c7NW/w640-h426/%25E5%2588%25AA%25E9%2599%25A4%25E4%25BA%25BA%25E7%2594%259F.jpg" width="640"></a></div><p style="text-align: left;"> <span face="新細明體, serif">文/蘇蔚婧</span></p>
<p class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span face=""新細明體",serif" style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">現在才看《</span><span lang="EN-US">Dele</span><span face=""新細明體",serif" style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">》實在有點晚,但剛好把最近的雜想兜起來。</span><span lang="EN-US"><o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span face="新細明體, serif">前陣子聽到一個影視用語「高概念」(</span><span lang="EN-US">High
Concept)</span><span face="新細明體, serif">,簡單來說就是三言兩語即可引人入勝、刺激觀影慾望、提升票房成績,吸引影視端想方設法把它拍出來的劇本或原著。一般認為,高概念作品,更容易受到影視內容產業的青睞。</span></p>
<p class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span face="新細明體, serif">根據上面定義,《</span><span lang="EN-US">Dele</span><span face="新細明體, serif">》無疑是高概念作品。故事描述菅田將暉誤打誤撞與山田孝之成為同事,這個由律師事務所擔保的公司提供人過世後刪除生前留在電腦、硬碟、手機等檔案的委託服務,每一集從委託人所欲隱藏的數位足跡,探索人性的複雜。</span></p><span></span><a href="http://allthememory.blogspot.com/2021/02/dele.html#more">繼續閱讀全文 »</a>蘇蔚婧http://www.blogger.com/profile/18174102774020675476noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-40879833675932715992018-05-09T20:51:00.000+08:002018-05-09T21:34:00.251+08:00風起了,宮崎駿的夢醒時分<a href="https://4.bp.blogspot.com/-UkpVQEfHC1U/WvLsj-j6JxI/AAAAAAABIp4/4AM1qonmO8w4kMYsmYpdYjUl6RDuC6z-wCLcBGAs/s1600/%25E9%25A2%25A8%25E8%25B5%25B72.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="870" data-original-width="1396" height="398" src="https://4.bp.blogspot.com/-UkpVQEfHC1U/WvLsj-j6JxI/AAAAAAABIp4/4AM1qonmO8w4kMYsmYpdYjUl6RDuC6z-wCLcBGAs/s640/%25E9%25A2%25A8%25E8%25B5%25B72.jpg" width="640"></a><br>
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在我童年時期,宮崎駿早已紅透半邊天,他的《龍貓》(1988)早就征服了所有孩子對於毛茸茸巨大生物的幻想空間,甚至《魔女宅急便》(1989)還是我第一次認識到宅配這個行業,以至於對將物品包裹好寄出去這種行為感到相當的神奇與興奮。然而在我看過《天空之城》(1986)後,卻在小小的心裡面留下一種無可抹滅的情感記憶,這種特別的感受使得我到現在提到宮崎駿時,直覺的第一印象想起的便是《天空之城》,而不是拿著雨傘的大龍貓或騎著掃把飛行的少女。當我仔細思考原因時,發覺最常出現在腦海中的畫面是巴魯和希達兩人在一起的時刻,原來《天空之城》是我所嚮往的完美愛情故事原型,神話般的相識、因患難而加深的情誼,以及史詩般的冒險際遇。<br>
<a href="http://allthememory.blogspot.com/2018/05/blog-post.html#more">繼續閱讀全文 »</a>綠可頌http://www.blogger.com/profile/00316734084781926089noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-3669146693831452382017-07-29T14:41:00.003+08:002019-05-28T23:27:40.507+08:002014 嘉義國際藝術紀錄片影展 《台灣第一苦旦─廖瓊枝》映後座談<div style="font-size: 16px; line-height: normal; margin-bottom: 5px; margin-left: 42.5px; text-indent: -42.5px;">
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-kerning: none;">攝影/Jerry CHIU</span><span style="line-height: normal;"> </span></span></div>
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<span style="text-align: justify;"><span style="color: #444444; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">儘管膠卷在放映端的應用日趨式微,但膠卷仍是目前被世上公認,最能長久保存電影的典藏媒材。保存膠片沖印設備與技術,事關影像的再生技術,保存未來向過去的溝通媒介。</span></span></blockquote>
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<a href="http://allthememory.blogspot.com/2017/04/blog-post.html#more">繼續閱讀全文 »</a>許古拉http://www.blogger.com/profile/08733644979876367042noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-59583009969823426192016-12-07T16:04:00.000+08:002016-12-07T16:06:18.220+08:00若遠似近,我城風景—淺介許雅舒實驗長片《風景》<span style="font-family: "新細明體" , serif; margin: 0px;">文/蘇蔚婧</span><br>
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<span style="font-family: "Trebuchet MS", sans-serif;">一座城市的形貌隨著觀看的心情、立場、角度與生活方式而定。每一雙眼睛裏映照著一座城市,千百萬雙眼睛裏映照出來的城市所構成的混合體,是否正好是地面上的那一座城市呢?</span></h4>
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<span style="font-family: "Trebuchet MS", sans-serif;">—王志弘《看不見的城市》(Invisible Cities卡爾維諾著)譯序</span></h4>
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<span style="color: black; font-family: "kaiti tc regular"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;">電影的拍攝過程既片段又零碎,加上演員「機械」式的表演。在這樣特殊的情況下,電影必須依靠優秀的演員,讓人物活靈活現……他們內心那股動力能夠串連整體,並賦予角色一統性。但是,從另一方面來說,要是觀眾對電影非常投入,電影也可以單純地滿足於演員機械般的表現。<span lang="EN-US"><br>
</span><span style="background: white;">──<span lang="EN-US">Edgar Morin</span>著,《大明星:慾望、迷戀與現代神話》<br><span lang="EN-US"><o:p></o:p></span></span></span></div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/qp0gZHjx4oY" width="560"></iframe><br>
<a href="http://allthememory.blogspot.com/2016/06/blog-post_63.html#more">繼續閱讀全文 »</a>maromihttp://www.blogger.com/profile/02916836316137969528noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-77824326886292237892016-02-18T22:33:00.000+08:002019-05-28T23:26:04.731+08:00心靈視像的紀錄者:黃庭輔<div style="line-height: normal;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">文<span style="background-color: white; color: #333333; text-align: justify;">/</span>許古拉</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwv5Ls7x8rvzKTOuuh-2qCT6iasYpzmEFS3gKtUu8E815OaEJPnKsp0Frrla7fySt40TYm5dNTZF3ctTZv5FUiGgRqUwuB2JPtpRjEBNRrTtQ8hXk2l_iupuYlmJcoAYfMB2hVt6ZDKN4r/s1600/01_%25E5%25BB%2596%25E7%2593%258A%25E6%259E%259D%25E5%25B7%25A5%25E4%25BD%259C%25E7%2585%25A7.jpg" imageanchor="1" style="font-size: 12px; margin-left: auto; margin-right: auto; text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwv5Ls7x8rvzKTOuuh-2qCT6iasYpzmEFS3gKtUu8E815OaEJPnKsp0Frrla7fySt40TYm5dNTZF3ctTZv5FUiGgRqUwuB2JPtpRjEBNRrTtQ8hXk2l_iupuYlmJcoAYfMB2hVt6ZDKN4r/s400/01_%25E5%25BB%2596%25E7%2593%258A%25E6%259E%259D%25E5%25B7%25A5%25E4%25BD%259C%25E7%2585%25A7.jpg" width="400"></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-family: 新細明體; font-size: 10pt;">圖:拍攝第一部紀錄片《廖瓊枝─台灣第一苦旦》的工作照。黃庭輔提供。</span> </span></td></tr>
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<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">基於對生命的交代<span style="font-family: "times new roman";">,</span>每年都會拍<span style="font-family: "times new roman";">,</span>沒拍就覺得很奇怪<span style="font-family: "times new roman";">,</span>覺得對不起自己<span style="line-height: normal;">,</span>這已經變成一種命運<span style="font-family: "times new roman";">,</span>反正這輩子也不打算做其他東西了。我有這個毅力和耐心繼續拍下去。─黃庭輔(1993)</span></blockquote>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">黃庭輔,熟悉台灣紀錄片必然不容錯過的名字。勇於嘗試紀錄片的實驗形式,讓他有著鮮明的作者印記,作品多次入圍國內外重要影展的肯定,始終保持獨立製片的姿態。嚴格來說,拍紀錄片是黃庭輔的業餘興趣,他的正職工作是國家電影資料館(今國家電影中心)的資深員工。自<span style="line-height: normal;">1989</span>年倡導電影保存概念的井迎瑞館長上任,黃庭輔同年來到電資館,見證台灣本土影像、華語電影的保存行動。<span style="line-height: normal;">2006</span>年同喜文化出版的《台灣當代影像<span style="line-height: normal;">──</span>從紀實到實驗》,這是第一套具有台灣紀錄片史觀意識的影片合輯與專書,他也是身在其中的催生者。</span><br>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br></span>
</div><a href="http://allthememory.blogspot.com/2016/02/blog-post.html#more">繼續閱讀全文 »</a>許古拉http://www.blogger.com/profile/08733644979876367042noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-74531002865504750152015-11-25T16:05:00.000+08:002015-12-03T11:26:41.345+08:00二零一五年國片點評<div class="MsoNormal" style="background: white; mso-pagination: widow-orphan;">
<span style="background-color: white; color: #333333; font-family: , serif; font-size: 15px; line-height: 25px; text-align: justify;">文/</span><span lang="EN-US" style="background-color: white; color: #333333; font-family: "times new roman" , "times" , "freeserif" , serif; font-size: 15px; line-height: 25px; text-align: justify;">Maromi</span><br>
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<span style="font-family: , serif;">緊張刺激、熱血沸騰、鼓舞人心的勵志電影,通常節奏明快、活潑動感又討喜,它能夠引領觀眾的情緒起起落落、又哭又笑,最後則感動不已。這類影片最適合生活漸漸疲乏、工作欲振乏力的您,若出現這樣的症頭,就一定要來看看今年的動感國片,再次再點燃自己對於生命的熱情!</span></div>
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</div><a href="http://allthememory.blogspot.com/2015/11/blog-post_25.html#more">繼續閱讀全文 »</a>maromihttp://www.blogger.com/profile/02916836316137969528noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-86847875793108139492015-11-16T13:00:00.000+08:002015-12-03T11:07:54.813+08:00他們的人生不是被關上一扇門,而是被拆掉整個門!<span style="background-color: white; color: #333333; font-family: , serif; font-size: 15px; line-height: 25px; text-align: justify;">文/</span><span lang="EN-US" style="background-color: white; color: #333333; font-family: "times new roman" , "times" , "freeserif" , serif; font-size: 15px; line-height: 25px; text-align: justify;">Maromi</span><br>
<span lang="EN-US" style="background-color: white; color: #333333; font-family: "times new roman" , "times" , "freeserif" , serif; font-size: 15px; line-height: 25px; text-align: justify;"><br></span>
今年在高雄電影節看了「高雄拍」單元,其中一部二十五分鐘的劇情短片《午休時間》(The Lunch Break),是根據台南某間特教學校性侵案發展出來的故事,該片由莊凱勛飾演代表「集體暴力」的性罪犯,全片瀰漫著一股邪惡的氛圍。弱勢特教生,特別是女性身心障礙者,面對外界的慾望來襲,即會淪為可憐的犧牲品,這是很普遍的認知,也是實際發生過的悲劇。導演林品君在映後感性地分享:「四、五年前看到那一則性侵新聞,自己另外閱讀了相關的報導文學,才發現那個案件已發展成牢不可破的共犯結構。」基於憤怒,導演以其爆發的正義感編撰出這個作品,她在介紹文中寫道:「很多時候,別過頭,閉上眼,日子就會容易得多。因為真相常常是殘酷而令人不忍卒睹的。」<br>
<a href="http://allthememory.blogspot.com/2015/11/blog-post.html#more">繼續閱讀全文 »</a>maromihttp://www.blogger.com/profile/02916836316137969528noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-72671349223208752742015-07-10T01:23:00.001+08:002015-07-23T10:59:37.421+08:00《百元之戀》,粉碎百賴無聊的安逸人生——專訪女優安藤櫻<div class="MsoNormal">
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<span style="background: white; font-family: 標楷體;">「我已經放棄當個女人了。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="background: white; font-family: 標楷體;">「像你這種人,就是會藏匿父母屍體,好詐騙年金的母豬啦!」</span></div>
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<span style="background: white; font-family: 標楷體;">——節錄自《百元之戀》</span></div>
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<span lang="EN-US" style="background: white;"><o:p>日本媒體看待貌似叛逆的女演員安藤櫻,評價經常給予「個性派」、「演技派」、「實力派」等形容<span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 新細明體, serif; font-size: 12pt;">……</span>對她表演尺度寬闊、演出角色類型不受限讚譽有加。2014年,安藤不僅被日本最老牌的電影雜誌《電影旬報》選入日本影史百大女演員第八名(安藤櫻在前十大女優裡,是惟一未滿三十歲的年輕演員,且與經典女優田中娟代並列第八位)。同一年,她主演的兩部電影《百元之戀》、《0.5 mm》皆榮獲「第88屆旬報獎」日本電影前十大佳作,而她個人也獲頒最佳女主角的殊榮。有如此出色的表現,安藤櫻在專訪中則沉穩地表示,其實她從四歲開始</o:p></span><span style="background-color: white;">就</span><span style="background-color: white;">有想當演員的念頭了。</span></div>
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<a href="http://allthememory.blogspot.com/2015/07/blog-post_10.html#more">繼續閱讀全文 »</a>maromihttp://www.blogger.com/profile/02916836316137969528noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-61426573433329704592015-07-09T23:36:00.002+08:002015-07-10T01:47:54.436+08:00宛如大叔的「天然系」少女——平價風味的《百元之戀》<div class="MsoNormal">
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<span style="font-family: "新細明體","serif"; mso-ansi-language: ZH-TW; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">「</span><span style="font-family: 標楷體; mso-ansi-language: ZH-TW; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">雖然他是有趣的、多愁善感的、懶惰的,不過,最要緊的是,他是孤單的。他所有的玩笑都帶著憂鬱的感覺,就像卓別林一樣,彷彿他的笑是通過他的眼淚似的,這一點正是電影發行人希望觀眾感受到的。</span><span style="font-family: "新細明體","serif"; mso-ansi-language: ZH-TW; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">」</span><o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8000001907349px;">齋<span style="font-size: 12.8000001907349px;">藤</span><span style="font-size: 12.8000001907349px;">一子(安藤櫻 飾)</span></b></td></tr>
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<a href="http://allthememory.blogspot.com/2015/07/blog-post.html#more">繼續閱讀全文 »</a>maromihttp://www.blogger.com/profile/02916836316137969528noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-75815281055157671902015-05-28T23:50:00.003+08:002015-05-28T23:54:30.564+08:00影像的召喚─重返作為紀錄方法(二)<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
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<b><span style="font-family: inherit;">重返─黃金時代<span lang="EN-US"><o:p></o:p></span></span></b></div>
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<span style="font-family: inherit;">看過《阿嬤的夢中情人》就知道台灣曾經有過一段台語片的黃金年代,然而,新竹在地影人張薰南、周宜得不僅見證了台語片興衰,從更早的日治時期開始,就憑著對電影的喜愛,開始了與城市發展密不可分的電影人生。《浮生:張薰南的電影情事》、《流光夢影:周宜得的電影人生》兩部影片均由新竹市文化局委製,透過梳理影人的生命故事,尋找庶民娛樂文化發展的軌跡,為城市寫歷史,重返那個台灣電影風光的年代。<span lang="EN-US"><o:p></o:p></span></span><br>
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</div><a href="http://allthememory.blogspot.com/2015/05/blog-post_28.html#more">繼續閱讀全文 »</a>蘇蔚婧http://www.blogger.com/profile/18174102774020675476noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-89223637380429860072015-05-28T23:31:00.000+08:002015-05-28T23:32:28.569+08:00影像的召喚─重返作為紀錄方法(一)<div align="right" class="MsoNormal" style="text-align: right;">
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<span style="font-family: 標楷體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">前言:本文為筆者應</span><span lang="EN-US">2015</span><span style="font-family: 標楷體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">嘉義國際藝術紀錄片影展邀請,為讀者介紹影展裡電影導演紀錄片(</span><span lang="EN-US">documentary
of filmmaker</span><span style="font-family: 標楷體;">)的文章,原</span><span style="font-family: 標楷體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">刊登於《放映周報》。影展雖然已在三月下旬閉幕,但記錄柏格曼的影片已獲代理,將於五月下旬放映。因此再度分享此文,亦作部分修改並分為兩段,希望與喜愛柏格曼或是關注電影導演紀錄片這一片型的觀眾能有所交流。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: inherit;">如何以影像記錄影像工作者,才能在影人以生命與作品交織的密網中,再尋想像的空隙?特寫電影人物的紀錄片如後視鏡般映顯眼界之外的事物,還是像衛星導航設定完美路徑,帶我們穿越時間,直達未知之地?<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">2015</span>年嘉義國際藝術紀錄片影展在去年首次舉辦的基礎上將電影類別獨立出「電影後視鏡」專題,其中三部影片企圖走入大導演的內心世界,分別是《柏格曼:光影封印》(<span lang="EN-US">Trespassing Bergman</span>)、《大快活:布諾頓的冒險人生》(<span lang="EN-US">Big Joy</span>:<span lang="EN-US">The Adventures of James Broughton</span>)與紀錄蔡明亮的《昨天》(<span lang="EN-US">Past Present</span>)。另外,《尋找布洛斯基》(<span lang="EN-US">Searching For Brodsky</span>)與記錄新竹前輩影人的《流光夢影:周宜得的電影人生》(<span lang="EN-US">The Golden Times</span>)、《浮生:張薰南的電影情事》(<span lang="EN-US">Life</span>:<span lang="EN-US">Love and Film
in the Life of Chang Hsun-Nan</span>)則是強調歷史縱深,試圖藉人物故事回返電影發展的作品。這些影片其實各自完整,若要仍要在差異與重複間嘗試命名,那共通的紀錄方式應是「重返」。然而,重返的目的影響了重返的形式,我們在觀影的同時,其實也在同行的路上,不管是否曾經到過;又或許,我們也可以走更遠些,再次思考何謂紀錄。</span><span lang="EN-US"><o:p></o:p></span></div>
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<a href="http://allthememory.blogspot.com/2015/05/blog-post.html#more">繼續閱讀全文 »</a>蘇蔚婧http://www.blogger.com/profile/18174102774020675476noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-14700949668487029972015-04-01T15:00:00.000+08:002015-04-02T08:31:59.983+08:00《行者》登陸:浦島太郎的時間之流<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: 標楷體;">「這是一位四十歲的少年,如果依照民間故事的描述,這位四十歲的小孩一個人出海捕魚,而沒有捕到一尾魚。在《風土記》中,『揚帆出海,釣三天三夜而沒有釣到一尾魚</span><span style="font-family: 標楷體;">』</span><span style="font-family: 標楷體;">。海是如此廣大無邊,以其中蘊藏萬物的意義來說,可以說代表著人類的下意識,一個人孤獨地在海上且釣不到魚的狀況,正和心理學上的『退化』狀態吻合。」</span><a href="file:///G:/%E9%98%BF%E9%A3%BD/%E8%A1%8C%E8%80%85%E7%99%BB%E9%99%B8%EF%BC%BF%E4%BF%AE%E6%AD%A3%E7%89%880401.docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri, sans-serif;"><span style="font-size: xx-small;">[1]</span></span></span></span></span></a></div>
<a href="http://allthememory.blogspot.com/2015/04/blog-post.html#more">繼續閱讀全文 »</a>maromihttp://www.blogger.com/profile/02916836316137969528noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-45193116993675340602015-01-14T00:25:00.003+08:002015-01-14T00:39:36.643+08:00找自己,從生活裡─淺談幾部中國獨立紀錄片的人生觀察<div class="MsoNormal" style="text-align: right;">
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<a href="http://allthememory.blogspot.com/2015/01/blog-post.html#more">繼續閱讀全文 »</a>蘇蔚婧http://www.blogger.com/profile/18174102774020675476noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-67974704792342511532014-08-31T00:41:00.005+08:002019-05-28T23:29:25.705+08:00異質的影像時空與「我」的凝視:《拋開書本上街去》<div style="margin-bottom: .0001pt; margin: 0cm;">
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">如何讓獨一無二的<strong><span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">我</span></strong><a href="https://www.blogger.com/blogger.g?blogID=6694894880060893686#_ftn1_9417" name="_ftnref1_9417"><span lang="EN-US">[1]</span></a>,在廣漠人群之中得以被凝視的同時,又可超脫影像時間之外獲得解放?《拋開書本上街去》<span lang="EN-US">(</span>書を捨てよ<span lang="EN-US">……</span>出よう/<span lang="EN-US">Throw Away Your Books, Rally in the Streets,1971)</span>作為寺山修司首部長片,帶有源自日本古典戲劇傳統的劇場性風格、超現實場景、激情晃動的手持鏡頭以及融合日本演歌與現代搖滾的配樂,拼貼散落於這部敘事鬆散但影像奇異瑰麗的作品中。</span></div>
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</div></div><a href="http://allthememory.blogspot.com/2014/08/blog-post_13.html#more">繼續閱讀全文 »</a>許古拉http://www.blogger.com/profile/08733644979876367042noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-40113893604360499582014-08-31T00:20:00.001+08:002019-05-28T23:30:17.203+08:00藝術紀錄片作為藝術靈光之追尋: 談「嘉義國際藝術紀錄片影展」中幾部台灣紀錄片<div class="MsoNormal">
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-family: 新細明體, serif;">如果你曾經感應,不管來自繪畫、雕塑、建築、音樂、文學、舞蹈、戲劇、電影等藝術散發的無名思想所撼動,那麼,誰不想知道或認識更多能夠以這些表現形式傳達意念的創作者,富涵創造力的哲思與身體,究竟如何被賦予神秘天才</span><span style="font-family: 新細明體, serif;">?也許,藝術紀錄片做為一種類型文本,便在於提供我們對心靈奇異撼動的追尋線索。</span></span><br>
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</div><a href="http://allthememory.blogspot.com/2014/08/blog-post_31.html#more">繼續閱讀全文 »</a>許古拉http://www.blogger.com/profile/08733644979876367042noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-59630347095939435762014-08-30T23:17:00.003+08:002019-05-28T23:25:30.415+08:00與神諾言─《魯笠》<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCl7ICpZNrBAHs6V3pMoKhgguq06rNmsHVxIPQ4NBpt7L_JPXOt3xRhW0vYUE6yMRri-ut8bRwV5D398Xjg4LKgw74DlFenBeSbrnSvJ9Iy84y4zv2NB1IJ2hRQwRjhCY0FksIaobZ7NGP/s1600/%E9%AD%AF%E7%AC%A0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: right;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCl7ICpZNrBAHs6V3pMoKhgguq06rNmsHVxIPQ4NBpt7L_JPXOt3xRhW0vYUE6yMRri-ut8bRwV5D398Xjg4LKgw74DlFenBeSbrnSvJ9Iy84y4zv2NB1IJ2hRQwRjhCY0FksIaobZ7NGP/s1600/%E9%AD%AF%E7%AC%A0.jpg" width="400"></span></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-fareast-language: ZH-TW; mso-hansi-font-family: "Times New Roman";">初次聽到「魯笠」,這個使人感到陌生的名詞,卻是一個地方文化傳承的重要象徵。陳武男導演長年記錄,屏東縣東港鎮東隆宮迎王船的民俗文化,透過轎班會成員的視角,將人神自古以來的相互依存關係,處理的極其動人。</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<a href="http://allthememory.blogspot.com/2014/08/blog-post.html#more">繼續閱讀全文 »</a>許古拉http://www.blogger.com/profile/08733644979876367042noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-302761102080879312014-03-26T00:43:00.000+08:002014-03-26T00:52:41.519+08:00KANO,還有我們的青春失憶症<div class="separator" style="clear: both; text-align: left;">
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旅法插畫作家林莉菁的那兩本書《我的青春、我的FORMOSA》,用「縫上新舌頭」比喻國民黨政府對台灣文化的戒斷式壓抑,台語被視為是低俗的、粗鄙的方言,統治者藉由強制性的國語教育跟史觀灌輸,讓年輕人與上一輩之間形成認知斷層,文化與土地的根源被切斷,在精神上與大中國的意識形態相銜接。</div>
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這當然是可悲的,解嚴後許多人花了好多力氣去重新建立台灣的語言系統,不管是台語、客語、原住民語,要找回過去這些「土話」所具有的優美音律和表意模式;然而我們被縫上的「國語」新舌頭,已經很難找回母語流暢的語感,許多詞彙未經系統化建立,單用母語說起來反而彆扭,而書寫更是一個問題。最終,我們還是得接受國語作為一種官方語言使用的必要性。</div>
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</div><a href="http://allthememory.blogspot.com/2014/03/kano.html#more">繼續閱讀全文 »</a>綠可頌http://www.blogger.com/profile/00316734084781926089noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-76251669000165526522014-02-21T01:00:00.002+08:002014-02-21T23:30:49.950+08:00夢中情人的愛情墜落欲:《我是一片雲》<span style="background-color: white; color: #333333; font-family: 'Times New Roman', Times, FreeSerif, serif; font-size: 15px; line-height: 25px; text-align: justify;">文/MAROMI</span><br>
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="background-color: white; color: #333333; font-family: 標楷體; font-size: 12pt; line-height: 25px;">品名:我是一片雲/尺寸:</span><span lang="EN-US" style="background-color: white; color: #333333; font-family: Calibri, sans-serif; font-size: 12pt; line-height: 25px;">74*52.5 cm</span></b></td></tr>
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</div><a href="http://allthememory.blogspot.com/2014/02/blog-post.html#more">繼續閱讀全文 »</a>maromihttp://www.blogger.com/profile/02916836316137969528noreply@blogger.com2tag:blogger.com,1999:blog-6694894880060893686.post-9013056364505065782013-12-14T23:33:00.001+08:002013-12-15T17:36:32.790+08:00她達達的馬蹄卻是美麗的過客:《新龍門客棧》<span style="background-color: white; color: #333333; font-family: 'Times New Roman', Times, FreeSerif, serif; font-size: 15px; line-height: 25px; text-align: justify;">文/MAROMI</span><br>
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<span style="font-family: 標楷體;">明星不是只靠著電影角色來美化自己,她早就美到,或至少接近一種理想的極致。她不只受到電影角色的美化,她也美化了電影中的人物。虛構的主角人物以及女主角美貌是創造神話的兩大支柱,兩者相互滲透,相互結合。</span></div>
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<span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 標楷體; mso-fareast-language: ZH-TW;">──Edgar Morin</span><span style="font-family: 標楷體; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-language: ZH-TW; mso-hansi-font-family: Calibri;">著,《大明星:慾望、迷戀與現代神話》</span></div>
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<b><span style="color: #e06666; font-family: "新細明體","serif"; mso-ascii-theme-font: minor-fareast; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">前後兩版電影主視覺的意義</span></b><br>
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<span style="font-family: "新細明體","serif";">翻拍自胡金銓導演</span><span lang="EN-US" style="font-family: "Calibri","sans-serif";">1967</span><span style="font-family: "新細明體","serif";">年的《龍門客棧》,由李惠民執導、徐克監製,且由林青霞、張曼玉以及梁家輝領銜主演的的《新龍門客棧》(</span><span lang="EN-US" style="font-family: "Calibri","sans-serif";">1992</span><span style="font-family: "新細明體","serif";">)成為</span><span lang="EN-US" style="font-family: "Calibri","sans-serif";">1990</span><span style="font-family: "新細明體","serif";">年代武俠片的代表作之一。高雄市電影館之典藏品,《新龍門客棧》的初版海報呈現出滄桑的繡紅色、老照片式的荒漠景緻,其中最顯眼的,是佔據圖下方,騎白馬的紅帽黑旗大軍,也就是影片中的大反派:明朝東廠,黑旗上標示著:「總督東廠官校辦事太監」、「內承運庫」、「御月監」等</span><span style="font-family: "新細明體","serif";">等,從文字多少能辨識出故事的背景,事實上那也是武俠片典型的開門寫照,一切都要從「說書人」娓娓道出的旁白作為起始:「明朝景泰年間,宦官專權,在京城設立十二監、十三庫、四司、八局及廿四衙門……」緩慢而誘導式地鋪陳,任誰都會對接下來即將發生的腥風血雨感到心癢好奇。然而,這張海報卻隱藏了影片的核心要素,圖中藏在</span><span style="font-family: "新細明體","serif";">黑旗戰隊後的建築物甚至也不是「龍門客棧」,而是東廠的堡壘,那麼,真正主角究竟在那裡?</span></div>
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<a href="http://allthememory.blogspot.com/2013/12/blog-post_14.html#more">繼續閱讀全文 »</a>maromihttp://www.blogger.com/profile/02916836316137969528noreply@blogger.com1tag:blogger.com,1999:blog-6694894880060893686.post-91895496114397810902013-12-07T23:57:00.000+08:002013-12-15T14:53:30.892+08:00相像之餘的相愛:《我的意外爸爸》<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVBlkIZcU9Y91aiSkDVBb6metca3UUal82qocO_b7wkkaIP-P64lSFdsg1UcXQIouIXlwJcGxv6xJWWZwQUHvSIJwwBJX3vzUWvSZXW7C21kbCIZO3FhKW3N4-0vXa5KNeStOmf80CbTo9/s1600/%E7%88%B8%E7%88%B801.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVBlkIZcU9Y91aiSkDVBb6metca3UUal82qocO_b7wkkaIP-P64lSFdsg1UcXQIouIXlwJcGxv6xJWWZwQUHvSIJwwBJX3vzUWvSZXW7C21kbCIZO3FhKW3N4-0vXa5KNeStOmf80CbTo9/s1600/%E7%88%B8%E7%88%B801.jpg" height="400" width="317"></a></div>
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<span style="font-family: 標楷體; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin;">「但願無論何時都能像這樣,時而哭泣、時而歡笑;動輒陰鬱的那片天空,也能一掃陰霾而放晴;在神明將如畫般的幸福分給我們一點之前,請把眼淚留住</span><span lang="EN-US">……</span><span style="font-family: 標楷體; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin;">啊,一如往常的你回過頭來微笑,請原諒交雜著嘆氣的我。」</span><br>
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<span lang="EN-US">──</span><span style="font-family: 標楷體; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin;">《奇跡》(</span><span lang="EN-US"><i>I Wish</i>, 2011</span><span style="font-family: 標楷體; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin;">)片尾曲歌詞</span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri;">回顧是枝裕和近年較廣為人知的影片,總是叫人不自覺嘆息,「真有日本風味啊」,有點像日本老電影,故事中常常不經意透露古老神靈的存在、輕描淡寫道出早被遺忘、充滿人性的民間傳說,如在《橫山家之味》(</span><span lang="EN-US"><i>Still
Walking</i>, 2008</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri;">)提到的黃色蝴蝶,老太太相信傳言,認為那是過世的親人回家;亦或是《奇跡》中讓孩子們信以為真的都市傳聞,在新幹線雙向會車那瞬間所許的願望將會實現。在這些微小的信念中,圍繞著家族的悲歡離合,其中的氣氛純樸有溫度,卻也帶著幾分寂寥與感傷。「泛靈」世界被現代人遠遠拋之腦後,人與人之間的牽絆似乎變得疲軟無力,但是枝裕和藉由孩童的反應強化此「弱連結」,導演在電影中充分展現日本人的性格、樣態,將親人之間迂迴、隱晦的愛恨情感喚醒,不著痕跡地賦予新的風貌。</span></div>
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<a href="http://allthememory.blogspot.com/2013/12/blog-post.html#more">繼續閱讀全文 »</a>maromihttp://www.blogger.com/profile/02916836316137969528noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-17283060547565437772013-11-29T20:29:00.000+08:002013-11-29T20:29:22.465+08:00城市就是我的影像實驗室─淺論許雅舒獨立影像作品<div align="center" class="MsoNormal" style="text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">《哭喪女》呈現內在化的香港縮影</td></tr>
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<span style="font-family: 新細明體, serif;"><span style="color: #666666;">前言:</span></span></div>
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<span style="color: #666666;"><span style="font-family: 新細明體, serif;">本文受南方影像學會為2013年南方影展所撰,筆者更有幸與許雅舒導演共同參與《哭喪女》映後座談。導演表示香港院線市場以商業考量無法放映本片,只有尋求影展管道。但日前</span><span style="background-color: white; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 18px;">深圳藝穗節決定停播此片,顯示香港獨立製片仍然缺乏映演機會,多數人仍無法觀賞。希望本文能發揮小小影響力,喚起大家獨立製片映演現況多一些關心,香港與台灣皆然。</span></span></div>
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<span style="font-family: 新細明體, serif;">許雅舒<span lang="EN-US">1998</span>年畢業於香港演藝學院電影及電視學院,<span lang="EN-US">1999</span>開始在香港城市大學創意媒體學院擔任講師,<span lang="EN-US">2004</span>年取得香港中文大學社會科學院人類學系女性硏究碩士學位,<span lang="EN-US">2007</span>年則在香港藝術學院拿了藝術碩士。照經歷看來,許雅舒可說是學院型的創作者,她早期的獨立短片也確實展現對電影語言的探索。<span lang="EN-US"><o:p></o:p></span></span></div>
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<a href="http://allthememory.blogspot.com/2013/11/blog-post_29.html#more">繼續閱讀全文 »</a>蘇蔚婧http://www.blogger.com/profile/18174102774020675476noreply@blogger.com0tag:blogger.com,1999:blog-6694894880060893686.post-26454295509214554762013-11-26T09:55:00.001+08:002013-12-15T14:55:18.675+08:00【高雄拍】翻山越嶺穿越海波浪<span style="background-color: white; color: #333333; font-family: 'Times New Roman', Times, FreeSerif, serif; font-size: 15px; line-height: 25px; text-align: justify;">文/MAROMI</span><br>
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<tr><td class="tr-caption" style="text-align: center;">《更好的明天》(<i>Namasia</i>, 2013)</td></tr>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">台灣雖小,卻有許多美妙的一面,然而都市以外的邊陲地帶卻常得不到人們的關注,「要怎樣讓更多人看見,那些少數族群在面對生活時所表現的堅強與美好」,這個課題對導演廖敬堯來說是拍片方向,在生命受挫時要如何從中得到正面的動力,正是廖導演此次創作的主要目的。</span></div>
<a href="http://allthememory.blogspot.com/2013/11/blog-post_26.html#more">繼續閱讀全文 »</a>maromihttp://www.blogger.com/profile/02916836316137969528noreply@blogger.com0