編造的真實 Truth in Fabrication

實驗片,往往打破既有的戲劇呈現型態,透過編造與創新的方式,來傳達影片宗旨,即使與呈現寫實存在的紀錄片有所不同,但兩者仍有不謀而合之處,都企圖以影片來撼動觀眾的內心,傳達真實的感動。本單元透過實驗短片與具有編造情境的紀錄片中,釋出「藝術紀錄」的質感,帶來同樣撼動人心的作品。


進擊的煉乳 The Caramel Corn Riot

謝光誠 Shie Guang-Cheng
臺灣 Taiwan | 2014 | 20 min
中文字幕 
Mandarin Subtitles | 普G
▲映後座談 After-Screening Discussion

3/27(日) 16:10

本片主要在描述三組彼此間毫無關聯的人們,他們分別在不同的地方,做著不一樣的工作,卻同樣為了生活而努力奮鬥著。這三組人分別是一名在片場替資深攝影師跑腿打雜的菜鳥助理;一名每天都在外頭和客戶打交道及奔波的房仲小姐;一群集結在台北火車站外頭,向政府抗議工資給付太少的關廠工人。導演利用空間並置的手法,透過一支奶油玉米酥廣告的拍攝現場,從助理不斷倒煉乳,一罐又一罐煉乳流出來的景象,營造出緊張焦慮的氛圍,同時藉著不斷重拍廣告的過程,藉此隱喻底層人民的悲哀,地位懸殊所造成的許多不公,以及社會現實的殘酷。

This dramatic documentary portrays the lives of three unrelated characters having different jobs in different places yet commonly leading a hectic life. The first is a rookie assistant who does errands for a senior cameraman in a film studio. The second, a real estate agent who is always on the run. The third, a group of workers victimized by plant closure demonstrating outside Taipei Railway Station. Employing the technique of spatial juxtaposition, the director created a tense and emotionally charged atmosphere by showing the shooting site of a caramel corn commercial in which the assistant pours the condense milk on the caramel corns one bottle after another till the milk overflows. Besides, the director invokes the metaphor of repeatedly retaking the commercial to represent the miseries of the underprivileged. In sum, this fiction-like documentary describes not only the glaring economic disparities between different groups in our society, but also the harsh realities of life.

 

導演簡介

導演謝光誠為自由影像導演,畢業於英國 London Film School ,曾拍攝眾多電視廣廣告,創作短片也多次榮獲國際影展獎項及許多國際影展的青睞及肯定。在紀錄片的工作經歷中,曾參與公共電視台灣前衛藝術家紀錄片系列節目的拍攝、執導的作品《遺忘與記憶》更榮獲島國之聲紀錄片影展。近期,謝光達則參與國家人權博物館歷史紀錄片《綠島醫生:蘇友鵬》及《僑生受難記:陳欽生》拍攝工作。

預告片


大地眨眼睛 The Blinking Eyes are Watching

黃明川 Huang Ming-Chuan
臺灣 Taiwan | 2015 | 53 min
中英字幕
Mandarin/ English Subtitles | 普G
★世界首映 Premiere
▲映後座談 After-Screening Discussion

3/20(日) 17:30

戰後的嬰兒潮是影響臺灣社會深遠的世代,其生存心態,就是挑戰。他們不斷地打破成規,主導社會變遷,「唯一不變的就是變」成為此世代唯一的信念,擁有極強的適應能力。一部透過五位在當代嬰兒潮出生的南部畫家——李伯男、鄭建昌、蘇旺伸、李明則及張立曄,藉由他們有別於日治時期所承襲之畫風,具有本土思想文化的畫作、藝術作品尋找歷史意涵的集體意識的紀綠片。本片使用大量的空拍技巧,高空拍攝嘉義縣市的山水地景,自丘陵地帶經過市區、農田,再到新建的嘉義市政府,至東石魚塭,延伸到外傘頂洲,藉由這些真實影像紀錄來佐證上述藝術家所描繪之景象。

The post-war baby boomers belong to a generation that has exerted profound and far-reaching influences on Taiwanese society. Raising challenges is their mentality towards survival. They keep breaking rules and ergo bring about social change. They share the unwavering belief that “the only thing that is constant is change,” implying that adaptability is their inherent quality. Featuring five painters born in southern Taiwan during the post-war baby boom, including Li Bo-Nan, Cheng Chien-Chang, Su Wang-Shen, Li Ming-Tse, and Chang Li-Yeh, and by reference to their folksy oeuvres that follow a different style from those in the Japanese colonial period, this documentary tries to manifest the cultural ideology and historical meanings lodged in these painters’ collective consciousness. The techniques of aerial as well as high-speed-train photography were extensively used in this documentary, covering the picturesque landscapes around Chiayi and west coast of the nation, including foothills, downtown, paddy fields, the new building of Chiayi City Government, fish farms in Dongshi Township, and the Waisanding Barrier Island. The images of these sceneries may serve as a perfect foil to the scenes painted by these artists.

 藝術家簡介

畫家李伯男,擅長油畫創作,其風格兼具知性與理想,遊走於傳統與現代間,近期以電腦影像合成的畫作表達對時代環境之省思;畫家鄭建昌,創作思維著重在臺灣人的內化特質,關注人與臺灣歷史的精神對話,描繪出獨特的台灣人圖像;畫家蘇旺伸,其創作之初以抽象主義表現為主,後將作品融入對於社會文化的觀察,傳達當今社會的現象;畫家李明則,作品融合水墨畫、民俗畫、宗教繪畫、漫畫等形式,繪出臺灣人文的獨特氣質;畫家張立曄,作品風格鮮明,用色大膽明亮,強烈色塊的運用,使作品充滿藝術張力。

預告片

導演簡介

導演黃明川,出生於嘉義,曾赴紐約與洛杉磯學習繪畫、攝影等,致力於獨立製片多年,《西部來的人》、《寶島大夢》、《破輪胎》等三部為其電影劇情長片作品,而近年來他專注於拍攝藝術紀錄片,以藝術及藝術家為拍攝主體,涵蓋藝術領域多元,為臺灣藝術留下眾多紀錄。


日曜日式散步者 Le Moulin

黃亞歷Huang Ya-Li
臺灣 Taiwan | 2015 | 162 min
中文字幕
Mandarin/ English Subtitles | 普G
◉臺灣首映 Taiwan Premiere
▲映後座談 After-Screening Discussion

3/19 (六) 13:00

台灣在1930年代的日治時期,出現最早主張超現實主義的文學詩人團體——風車詩社。在風車詩社創立之前,日治時期當時的台灣文學,尚致力於發展寫實主義的書寫,風車詩社卻提倡西方現代主義知性精神,兼及超現實主義、意象派、立體派等二十世紀前衛實驗性的文學技巧,著重經營文字藝術美感,同時也反映出,在二十世紀時,文化如何從西方傳遞至台灣,更折射出西方現代主義進入亞洲之後,亞洲文藝創作者面對與回應在地及世界的態度與方式。風車詩社所表現之美學形式,與當時寫實的風氣截然不同,在1930年代成為異質的存在,對於文化帶來衝擊。本片拍攝走訪台日,藉由風車詩社,追溯風車詩社所帶領的前衛浪潮,為台灣詩人們帶來的影響,西方文化對於台灣文學的時代意義,而這些殖民地的現代文學創作者,透過詩觀的論述及文學創作,為當時留下劃時代的意義與美學。

Founded in the 1930s during the Japanese colonial period, Le Moulin Poetry Society was the earliest pioneer of literary surrealism in Taiwan at a time when realism remained the mainstream of Taiwanese literature. Drifting outside the mainstream, Le Moulin instead advocated Western modernist intellectuality and adopted an eclectic mix of avant-garde, experimental literary styles developed in the 20th century such as surrealism, imagism and cubism that commonly stress the aesthetic quality of writing. The emergence of this poetry society reflected not only how Western culture was introduced to Taiwan but also how Asian literary circles responded to the appeals of local and Western cultures throughout the twentieth century. Exhibiting distinct aesthetics from the mainstream realism in the 1930s, Le Moulin had become the heterodoxy that substantially broadened the cultural horizons of Taiwanese people. This documentary was filmed in Taiwan and Japan, carefully tracing the avant-garde trend set by Le Moulin, exploring its influence on Taiwanese poets and the significance of Western culture for Taiwanese literature. In sum, these modern writers’ chef d’oeuvre and philosophy of poetry had aesthetically represented an epoch-making landmark in their times.

 

導演簡介

導演黃亞歷,臺灣獨立製片工作者,作品關注於影像、聲音的聯繫與延伸性。其實驗電影作品《物的追尋》(2008)、《待以名之的事物》(2010) 等,亦受到國內視覺藝術創作領域肯定。近年他投身製作臺灣日治時期相關主題之紀錄片,期望透過拍攝梳理與重新檢視歷史,以紀錄片真實的詮釋,更反思臺灣與亞洲、世界之間的關係。首部長片《日曜日式散步者》 更入選2016年荷蘭鹿特丹影展「未來之光」(Bright Future)單元進行觀摩放映。

預告片


雙喜 Double Happiness

日德艾蘭 Ella Raidel
奧地利、中國 Austria, China
2011 | 75 min
中英字幕
Mandarin / English Subtitles | 普G
▲映後座談 After-Screening Discussion

3/26 (六) 15:00

 

奧地利的小鎮竟然能原封不動一比一的搬到中國?看似不可思議的場景,卻真實發生,原來這是中國深圳的地產開發商的構思,他用五天的時間,繪圖複製下奧地利優美的歷史小鎮哈斯塔特(Hallstatt),並回國於深圳惠州,耗資60億人民幣成就這個『五礦·哈斯塔特』的地產開發項目。這個山寨版的小鎮,同時反映中國城鎮化此課題,原本一個簡單純樸的小鎮,卻被複製成為奢華生活的象徵。本片導演日德艾蘭歷時三年,來回奧地利與中國二地,以實驗片與音樂劇之手法,拍攝出此紀錄片。透過原奧地利小鎮與複製品中國城鎮的影像交錯之方式,呈現此處弔詭混合的歐美文化歷史與亞洲對於美的想像,竟成為對於美與經濟能力的標準。這樣的真實,究竟是虛構幻想的呈現,還是代表著這樣的虛構已然成為真實。

Why a small town in Austria can be completely moved to China? Quovis modo, the utterly incredible scene has unfolded before us. It turned out to be the idea of a Shenzhen-based land developer who spent five days mapping Hallstatt, a picturesque old town in Austria, and invested 6 billion RMB to complete the land development project titled “China Minmetals: Hallstatt” in Huizhou, Shenzhen. This cheap copy of Hallstatt meanwhile threw a spotlight on the issue of urbanization in China, for an originally quaint and tranquil town has been reproduced as a symbol of extravagant lifestyle. The director Ella Raidel spent three years shuttling between Austria and China, completing this documentary with the techniques commonly applied in experimental films and musicals. Interweaving the scenes of Hallstatt in Austria and its cheap copy in China, this documentary represents an intricate, paradoxical hybridization of Western cultural history and Asian imagination of beauty. To our surprise, the paradoxical combination has become the criteria for beauty and economic success. Does it present a pure fantasy or imply that the fantasy has become the reality?

 

導演簡介

來自奧地利導演日德艾蘭,身兼電影製作、藝術家與學者之多重身分,她的藝術作品曾在金門展示。近年她致力於在歐洲、亞洲及非洲拍攝實驗紀錄片,她的作品多在關注,在全球化的環境下,社會與文化的改變,並用影像作品去呈現。她以紀錄片《雙喜》入圍2014年德國萊比錫國際紀錄片和動漫電影節、丹麥哥本哈根國際紀錄片電影節、2015年阿根廷布宜諾賽勒斯獨立電影國際紀錄片節以及加拿大多倫多國際紀錄片電影節等影展。

預告片


忘憂公園 Sanssouci Park

廖祈羽 Liao Chi-Yu
臺灣 Taiwan | 2015 | 15 min
中英字幕
Mandarin / English Subtitles | 普G
★世界首映 World Premiere

3/27(日) 16:10

80年代時期,當時至相館拍攝家族肖像時,攝影佈景總會使用,『歐美地區美好風光』形式的攝影佈景,如西式洋樓、羅馬柱及各類經典的歐式建築風格等,又或者放上一塊星光繚繞的天際圖像、蔚藍天空與海洋等。那些在攝影棚背景紙上,各式時空場景,就像是對遠方的美好想像與企求,展現出人們心中的渴望,同時也藉由影像的呈現,來滿足個人自我膨脹的慾望。本片以一位女性生命中,所歷經的兩場烈火揭開序幕:一次為中年時住家遭逢縱火;另一次則在其死亡之後。屬於她的回憶與記憶,都隨著那些因祝融而消失的照片一般,逐漸變得模糊,不再清晰。本片藉由影像及口白,揭示了夢想與現實間的鴻溝,而所謂浪漫想像,彷彿成為面對殘酷現實,用來聊以慰藉之出口。

In the 1980s, photo studios in Taiwan tended to use gorgeous Western architectural elements (e.g., mansions, Roman columns and various Western classical architectures) as the backdrop settings for family portraits. The images of a starry night sky, a vast azure canopy or a deep blue sea were also frequently adopted. The sceneries printed on the backdrops resemble the romantic imagination of and hankering for an unreachable utopia. These images not only reflect people’s dreams and aspirations, but also indulge people in their unquenchable aggrandizement. Two devastating fires prelude this documentary. The first one was caused by an arsonist and engulfed the protagonist’s house at her middle age, while the second one occurred after her death. All her memories are fading with the photographs consumed by the fire. This documentary unveils the huge gap between fantasy and reality with images and asides. The so-called romantic imagination seems to be of small consolation to people controlled by the whims of a cruel fate.

導演簡介

導演廖祈羽的創作媒材多以錄像與錄像裝置為主,其擅⻑影像敘事。作品來自於她對生活細膩的觀察,將自身經驗、記憶與情感甜美的影像風格,交雜生活裡隨處可見的暴力與衝突,或是生命中不可逆的無奈與哀愁,藉由角色模擬、開放性敘事,細膩描繪許多人與人之間的共同時刻。曾受邀德國波昂錄像藝術雙年展、立陶宛考納斯雙年展等多項國際展覽,近期舉辦的個展包括:「忘憂公園」(香港 a.m. space)與「清明夢」(臺北伊通公園)。

 

預告片