日常飲像影食:再沒有被實驗了的影像 Having a Balanced Diet – no more “experimented experimental moving images,” screening

【日常飲像影食:再沒有被實驗了的影像

- 第二十屆IFVA入圍作品《這是這文富》、第十一屆鮮浪潮作品《無念》、第一屆IFVA得獎作品《I Have a Dream about a Short Video on the Making of a Short Film for Competition》、《微敘事・詩變》 放映試食傾計會】

(Please scroll down for english)

日期:2017 /04 /30 (SUN|日)
時間:7pm – 10pm
地點:@Floating Projects 據點。句點
入場:自由捐獻

簡介:當日常的食物被當作很特別的食物後,有的人不想吃,有的人很怕去品嚐,有的人感到淡而無味,有的人覺得材料味道亂放,有的人甚至不想看見這種食物。隨著慣性,人們往往不自覺的以為只得某種食物最好吃,某調味醬料一定要這樣放才好,才是美味的方程式。因著這樣的執著,這次的放映試食傾計會就誕生了。

是次放映源於看IFVA《這是這文富》(2016)的評審記錄裡「炒雜碎」這個動名詞。這看來是一個貶義的詞語,但炒雜碎又何罪之有?我們的腦袋不一直在炒雜碎嗎?我們每天發夢也像極了炒雜碎。如黎肖嫻所說:「我們長大的過程中,觀賞經驗訓練了我們對作品的要求,一定要有清晰的主題、單一的線路,才覺得作品是好。」與朋友討論,談到IFVA早期的作品,都說很「爆」、多元、好看。後來看了《I Have a Dream about a Short Video on the Making of a Short Film for Competition》(1995),覺得它簡直可以回應了這次放映的重心。曾旭熙的新作《無念》(2017)也在探討活動影像是怎樣的經驗旅程,而 黎肖嫻剛出爐的《微敘事・詩變》是一個很宏觀的微敘事世界。

(字:丁卓藍)

【日常口味菜單】

7pm-7:30pm
開胃無驚又定神系敏快敏快-馮炳輝作品
IFVA第一屆得獎作品《I Have a Dream about a Short Video on the Making of a Short Film for Competition》, 1995 / Beta / 30′/ color + b&w / sound

7:30pm-8:00pm
八上四挫星星手紋嘆複心雜情-謝雅妍作品
2017IFVA入圍片《這是這文富》, 2017 / 29m48s / color + b&w / sound

8:00-8:30pm
[映後分享]

8:35-9:00pm
坐靜慢慢腦子會替你自動說畫的話-曾旭熙作品
2017鮮浪潮《無念》, 2017 / 25m59s / color + b&w / sound


9:00pm-9:15pm
喘聲清清啦啦水靜聽小額紋微笑 -黎肖嫻作品
2017新作,《微敘事:詩變》, 2017 / 14’ 59” / 4:3 / color + b&w/ sound

9:15pm-10pm
[映後大分享]

 

 

詳細內容:

《I Have a Dream about a Short Video on the Making of a Short Film for Competition》/ 馮炳輝 / Beta / 30′

〔作品簡介〕

我想不到

該如何給這作品起一個名字

「名字」又是否重要?

沒有了名字……

也許便不用再分

你我是非黑白先後一二三……



〔創作者簡介〕
新媒體錄像/ 電影藝術家/ 音樂人

本地前衛媒體音樂組合”民藝復興” 核心成員, 創作多探索主流文化媒體科技與人民精神的關係,個人藝術創作或攝影指導作品屢次在本地及海外參展並獲獎。

 


《這是這文富》/謝雅妍/2017 / 29m48s / color + b&w / sound


〔作品簡介〕

大學時聽到「創作是自我療傷的工具」後,首次拿起dv機,去找不在家的父親,那份差勁的習作叫《家・人》。2014年,我找回那些碎片,驚覺自己從來沒有好好處理傷口。2015年7月15日,父親在他的家中暈倒,成了《這是這文富》。

〔創作者的話〕

關於《這是這文富》,它是源於五年前的課堂習作、一份未完成的功課。兩年前我重新接觸父親,跟他來往變得頻密後,我常常把拍他、拍他掛在嘴邊,卻又總是給自己太多藉口,沒有技術、沒有設備、沒資源,都是遲下先…直到他暈倒,終於,生成一部聲畫不佳的片子。它是這些年來最好的藥:處理傷口的療程。雖然它遲到了,傷口也不會痊癒,但它會轉化成另一種意義。

 

《無念》/ 曾旭熙 / 2017 / 25m59s / color + b&w / sound

作品簡介
落花紅紅,獨白濛濛,思憶種種。因為無念,所以沒有故事。因為無念,劇情也可缺席。無念,是一場夢,猶如莊子所言,愚者自以為覺,竊竊然知之。每個鏡頭,每組影像,如夢如幻月,若即若離花。沒有劇情,才有解讀的自由。沒有對白,眼睛才會明察。把每組影像交織成詩,有緣,其實是以無念相見。不需探究起承轉合,只因電影世界從來只是虛擬現實,執著解謎才最令人虛妄。詩意之始,在於無念。

《創作者簡介》
2016年畢業於香港城市大學創意媒體學院,主要創作實驗錄像及編導劇情短片,實驗主流電影和錄像的平衡。作品《無念》入圍鮮浪潮國際短片節2017。現修讀中文大學哲學文學碩士課程。

 

《微敘事:詩變》/ 黎肖嫻 / 2017 / 14’ 59” / 4:3 / color + b&w/ sound


總是對「鏡頭」這個基本單位着迷(雖然我知道還有更小的單位例如像素)。一個獨立的鏡頭,之前是甚麼又可以接上甚麼,是創造現實、破開現實的起點。鏡頭這碎片是點,可連的線多向多方具衍生的能力,並不是單單靠寫劇本可以經營出來的。這就是我的蒙太奇遊戲,是我的錄像書寫的座標。

我哼着詩卻敘了事。我呆呆的在記錄無所事事卻敲出無心插柳的長短句聲東擊西。對着「大」事件我生攝錄機的氣總覺它不濟用。這一年的那一件事,那一年的這件事,遙遠的一片聲塊,她們的臉,勞動者的細活,總覺絲絲入扣,掩映著疑似的勾連。我喜歡詩的段落組織、斷裂性、前遞推進性。影像(文字)與影像(文字)之間、影和音之間的空間與留白,才是詩的「實體」所在。

我就是這個勤勞的錄像書寫人、影音的拾荒者。好奇,用“記住”去接觸世界,保持着某種距離。

回頭再看,這一回這一闕小詩包攬的錄像日記碎片前後十七年;中間我又貪婪的插進1930年和不知名年代的撿拾回來的有關香港的現成片段,我的塗鴉,更有遠方捎來的隨拾。我劃了一條多麼宏大的時間弧度線啊!微入,塵埃巨物、風雨蓋實活。我也大着膽子把一些我曾在自己以前的作品用過的鏡頭擠進這小詩裡,重復挪用,因為就是說不出來的喜歡;新的接連,新的外相,新的關係,同一個碎片就成了新的現象,不同的指涉。何謂本相呢?

《創作者簡介》
黎肖嫻, 香港城市大學創意媒體學院互媒藝術副教授,同時也是以研究主導創作的跨領域藝術家,有豐富的國際參展經驗。於紐約大學電影研究系取得哲學博士之後,不斷尋 究由電影延展開去的相關藝術和理論探索,一直不離不棄『理論就是行動實踐』的信念。在藝術創作和學術研究上,環繞歷史書寫、視覺和自傳式民俗志、都市研究 和資料類集之間的批判性關聯,核心總離不開敍事的政治性,強調語言活動的詭辯。從女性主義的觸覺思維出發,她的作品強調『差異』的無盡性,以抒演的策略不 斷的打開既定概念和操作成規。 黎肖嫻的實驗性錄影、數碼或混媒的裝置曾於歐美和亞洲的多個城市展出,包括德國奧柏豪辛國際短片節,首爾實驗電影錄影節,美國俄亥俄州雅典城的國際電影錄 像節、倫敦的開放城市紀錄片節、臺北女性影展、首爾國際女性影展、香港國際電影節等等。近作《1906-1989-2012》為第九屆上海雙年展 (2012)的受委參展作品。個人最喜歡的創作是一本260頁的書,記述了她和攝影家陳超敏(現居英國倫敦)八個回合的攝影與文字的跨媒對話遊戲。 2004年她創辦了香港為基地的新媒體群體「文字機器創作集」,至今已發表過五輯聯展,不斷探索電算思維與當代藝術的問題。 在創意媒體學院,她任教的科目包括當代藝術與媒體考古、媒體藝術、電影史和視覺理論與實驗性錄像創作的關係、文化研究和民俗志在批判和創作上的實踐,以及 書寫與創意。在香港大專界,她是首位設計和執教衍生性藝術與文學,以及從人文角度看聲音藝術的學者。「據點。句點」是最新近的實驗計劃,以資料庫及藝術工 場為基調,探索藝術群體組織的模式以及就地藝術創作、資源迴環再造、組織的持續性的問題。

 

-----------------------

 

附2017年IFVA論《這是這文富》評審記錄:

范:下個作品是《這是這文富》。

黎:這是我最喜歡的,完。

劉:雖然拍得有點亂,但題材是好的。整體而言,若以記錄片形式作敘事,應該可以再好看點。現在很多是「炒 雜碎」的感覺。

宣:我本身不認識他(文富),但從片中一直跟著他,知道了他與瀚盧以及婆婆,但之後的發展,又去了別的地方。 之前我以為他(導演)是要跟地方,之後才發現是跟人物。這部分讓我有點混亂。當然題材是好,但又不至 很深刻。我覺得導演想透過作品,講自己的家庭,但又不是很講到。

游:我聚焦不到,究竟他想說什麼。

李:我也是這樣。看到有個人物,為村民做很多事,但究竟想說些什麼呢?我不知道。

黎:因為似乎只有我,覺得這作品是最好。所以我應該要說原因。我們長大時,被觀賞經驗所訓練,覺得作品 一定要有清晰的主題,單一的線路,才覺得作品是好。我不想老土的說,這作品給了我很多空間。而是它 給了我一大盤碎片,裡面是有層次的。一種是很詩意的東西,有關她居住的環境、地方,日常、家常的。 第二是透過人物,一些曾接觸的事,例如:雨傘運動和一些社運的東西。第三是一對夫婦的角力,這是很 難的。這作品令我聯想到,真實生活裡的一些人。拍攝者是家庭成員之一。我喜歡這作品像散文,每次都 可以抽身,再返回一些事上。我支持這作品,是因為很少會看到這樣大膽的作品。它的不集中、不統一、 沒有主線支線,對我完全不是問題。它不是詩,不是散文,不是記錄片,我喜歡這樣不能分類的作品,很 少見,令我眼前一亮。

劉:但我看不出作者的筆跡。因為他是不懂怕,還是有意這樣拍?我看不出他 有意這樣。

黎:如果一個人亂,可以做到這樣,真的是很厲害。它的層次其實是很清楚的。每次都會回去,說回一些之前 說過的東西。我會接受這個作品,因為挑戰了我們的觀賞習慣。

宣:個人而言,拍的都是很個人的東西,例如開始時醫院那段。使我很難投入,或喜歡這個作品是,因為我覺 得冷漠。不但沒有如導演所說,透過這部作品更了解爸爸。某些部分,我看得不是很舒服。拍社運的部 分,我沒什麼問題,但入院的部分,我即想聯想到,現在很多人都喜歡什麼都先拍一通。我不會說作者是 這樣,但我會思考,拍一個受訪者的生平,我的底線應該是去到那。很多很鎖碎的事件,也令我代入不 到。

黎:我覺得抽離,也是一種視點和技巧。這個作品可以很容易走向煽情方向,要令觀眾感動。這部片我想不是 拍出來的記錄片,(更像)視覺日誌般,每天拍,經年月累積。到覺得需要成為作品時,再剪接出來。基於這 點,我不會說他拍少了什麼,不完整,鏡頭運用不一致等。十個作品中,只有這個是這樣做。

游:我覺得導演在指摘母親,在幫父親說話。這令我不太舒服。

(原文:第二十二屆 ifva 獨立短片及影像媒體比賽公開組評審會議紀錄


延伸閱讀:寫給會去看我鮮浪潮的人 To those who went and may come to see my video “Morning” at Fresh Wave 2017

 

Having a Balanced Diet – no more “experimented experimental moving images,” screening

Date:2017 /04 /30 (SUN)
Time:7pm – 10pm
Venue:@Floating Projects 據點。句點
Entry:Pay What you want

When daily food is mistaken for rare food, some people do not want it, some people fear to taste it, some people are bored by its flavor and taste, some people think the sauce does not match the food and turns the whole dish into a mess. As time goes by, people are accustomed to consuming certain so called “tasty” food, assuming certain dishes should go with certain seasoning to achieve the “delicious equation.” It is such kind of habitual persistence that provokes this screening, realized in order to challenge.

The title and the concept for curating this screening come from a phrase, “stir-fried chop sui“ (stir-frying fragments), a comment made on an IFVA (2016-17) shortlisted work This is the Man Fu (2016) by Sandra Tse. “Stir-fried chop sui” sounds negative. But, really, what is wrong with it? Isn’t our mind constantly in a state of “frying fragments”? When we dream, our mind’s activity is also comparable to “frying fragments,” too. As Linda said, “our viewing experience, acquired as we grow up, dictates that a proper work must have a clear theme and clean linear story-lines, in other words, it must have a central conflict.“ In a chat with friends about the early award-winning works of IFVA, they said many works back then were mind-blowing, multivariate and fun to watch. I picked up I Have a Dream about a Short Video on the Making of a Short Film for Competition (1995, 1st IFVA), and realized that this work could totally respond to our screening’s concern. Don Tsang’s Morning (2017) explores moving image practice as an experiential journey, and Linda’s final draft of Micro Narratives (a Visual Poem) calls attention to the micro narratives in the quotidian that have escaped our attention, taking a macro-view.

 


【Menu】

7pm-7:30pm
Fung Bing Fai , Makin
1st IFVA awarded work《I Have a Dream about a Short Video on the Making of a Short Film for Competition》, 1995 / Beta / 30′/ color + b&w / sound

7:30pm-8:00pm
Tse Nga In , Sandra
2017 IFVA《This is The Man Fu》, 2017 / 29m48s / color + b&w / sound

 

8:00-8:30pm
[Eating & Sharing]

8:35-9:00pm
Tsang Yuk Hei, Don
Freshwave International Short Film Festival 2017,Morning, 2017 / 25m59s / color + b&w / sound


9:00pm-9:15pm
Lai Chiu Han , Linda
2017 New work,Micro Narratives: a Visual Poem…, 2017 / 14’ 59” / 4:3 / color + b&w/ sound

9:15pm-10:00pm
Big sharing



Fung Bing Fai ,Makin
1st IFVA awarded work《I Have a Dream about a Short Video on the Making of a Short Film for Competition》 / 1995 / Beta / 30′/ color + b&w / sound

{Work Description}:

I can’t think of

how to give a name to this piece

After all, is “name” that important?

Without name…

Perhaps then it’s extraneous to differentiate

You, me, yes, no, before, after, one, two, three……

{About Artist}:

As one of the pioneering media/sound artists from the 80’s, makin has always been exploring the boundaries between popular culture and underground art. With extensive professional experiences in the music / film industry (as music producer, DJ, Director of Photography for feature films, Documentary and experimental filmmakers), makin’s projects have won awards and been showcased at local and overseas festival. His recent engagements involve experimental soundscaping and modulations of moving images with reference to contemporary and local culture.

Tse Nga In

20th IFVA Award《This is The Man Fu》, 2017 / 29m48s / color + b&w / sound
{Work Description}

Knowing “The creative process is a tool to heal oneself.” during university, I picked up the DV recorder, for the very first time, to find my father, who is not home. That poorly done piece is named “Family. People.”  In 2014, I brought back those fragments. I shockingly found out, that I had never treated those wounds well. On the 15th July, 2015, my father fainted at home. It’s when “This is The Man Fu” is made.

{Words from Artist}

On “This is The Man Fu”, it stemmed from a class exercise made five years ago. An incomplete assignment. Two years ago, I re-approached my father, we met more often since then. I always thought about “shooting him” from time to time, yet often times I made excuses over and over again. Without techniques, without equipments, without resources. Perhaps I should wait. Until the day he fainted. Finally, this piece with rough sounds and images is produced. It is by far the best cure throughout these years. It is the treatment to soothe the wound. Even it is late, and the wound will never recover, it is converted into another essence.

Tsang Yuk Hei , Don
Morning , 2017 / 25m59s / color + b&w / sound

{Work Description}
Falling petals, flying snowflakes, fragments of memory…all are transient just like our dreams. Without thoughts, there need not be a concrete plot or captivating story to tell. Just as philosopher Zhuang Zi wrote–the fools think they are awake. Each scene and image exudes illusion and fantasy. The absence of plot and dialogues allows freedom in interpretation and clarity. The symphony of images becomes a poem for the audience to treasure. Cinema is dreamy in nature, allowing the true poetic spirit to thrive—when we rid ourselves with thoughts.

{Words from Artist}
Graduated from School of Creative Media, City University of Hong Kong in 2016. Works focus on videography, directing and script-writing for fictional short film in a way of searching the balance between mainstream and experiment. Candidate of Freshwave International Short Film Festival 2017. Recently studying Master of Art in Philosophy in the Chinese University of Hong Kong.

 

Micro Narratives: a Visual Poem…

Linda Lai / 2017 / 14m59s / 4:3 / color + b&w / sound

Linda Chiu-han LAI, camera, montage, voice performance

Theresa Junko Mikuriya, voice performance

{Work Description}

“Micro Narratives” is a visual poem, using the artist’s video diaries (1999-2016), her automatic writings, doodles and poetry, covering Hong Kong, Shanghai and Las Palmas. Inserts from 1930s Hong Kong create vastness temporal gaps spatialized in 15 minutes. The life world comprises of micro processes, against the vastness of the world. Poetry, visual or in words, speaks against our settling with routines and habits. “Micro Narratives” calls for the opening up of our modes of attentiveness – attention to the details of the perceivable, minute movements, textures of the quotidian, of material surfaces, of emotions and loose thoughts that have escaped our naked eyes and informed perceptions. No monumental events, no grand discourses, no calculated plot lines, but…

{CONCEPT}

Calling the work a poem, I am yearning for liberated modes of visual discourses turning the burden of genre division into a dialogic journey, zooming in, zooming out, in search of patterns and oddities.

Call it diary or not. Call it experimental or not. Call it documentary call it drama…

Naming is empowering, moving what is felt, tumbled into or barely registered to the zone of conscious articulation. De-naming and re-naming results in audio-visual fragments’ presencing I here call it narratives. It is a frame that calls attention to flows and unseen potentiality. Points with possible conjoining… waiting our invention.

Videography begins with being there gleaning, collecting, observing, reaction on the spot… Only montage brings in the full circle…

I also think of economist-minimalism, conservation and greenness in artistic creation. What do I do with shots that are obscure, shaky…? When taking images is everybody’s daily activities? What do we do with the unmanageably bulky data we accumulate? In contemporary videography, there is no such thing as a dirty shot. It is simply a seed awaiting – a purposeless document with many possibilities amounting to new purposes.

{About Artist}
Linda Chiu-han LAI, Associate Professor in Intermedia Arts at the City University of Hong Kong’s School of Creative Media (SCM), is a research-based interdisciplinary artist. After completing her Ph.D. in Cinema Studies at New York University, she has sought meaningful connective extension to other relevant artistic and theoretical endeavors. She persists in artistic creation as the practice of theory. A critical researcher on the History of Everyday Life, her works focus on historiography, visual and auto-ethnography, urbanity and popular culture. Her teaching revolves around the criticality of micro/meta narrativity. She has also designed, at SCM, Hong Kong’s first courses in generative art & literature at the university level. She founded HK-based new media art group the Writing Machine Collective (2004) and has completed 5 major group exhibitions on questions of computational thinking and contemporary art. Though broadly known for her videography in the international art venues, she creates in different artistic mediums to turn art-making into criticism, history-writing, gaming and voyages of discovery. Her digital and non-digital works have been shown in key venues in many cities in Europe, Asia and the US, including the International Short Film Festival Oberhausen, the Open City London Documentary Festival, LOOP Barcelona, Rencontres Internationales Paris/Berlin, the Jihlava International Documentary Film Festival in the Czech Republic, the Fourth State of Water (CoCA, Torun, Poland), Women Make Waves Film Festival (Taipei), International Centre (New Delhi), and the various Experimental Film/Video Festivals in Seoul (EXiS), Taipei (EXiT), Macao (EXiM), Kuala Lumpur (KLEX) and Hong Kong (HKEX). Lai considers herself a montage artist: to her, images are intensely rich perceptual surfaces that defy the binary division of representation and abstraction. Many of her works also deploy the notion of an archive and self-archiving, including her recent work “1906-1989-2012: Guangzhou-Hongkong-Shanghai-Anji,” commissioned for the 9th Shanghai Biennale 2012 at the Power Station of Contemporary Art, which is also a piece of experimental history playing with childhood memory, the use of everyday objects and folk material, the postal history of Hong Kong and family stories. Lai seeks for intermedia moments and modes of connectivity, be it conjugation, modulation, combinatorial logic, or permutation… Floating Projects is her recent experiment on modes of sustainability in art-making and artists’ associations.


22nd ifva Open Category Jury Meeting Transcript (excerpt)

……

Fan: The next work is This is the Man Fu.

Lai: This is my favorite work. Period.

Lau: Even though it is chaotic, the subject matter is good. On the whole, it’d be better if the artist chose to use the documentary form to tell a story. Now I feel that it is too mixed up.

Suen: I don’t know the character before watching the film, and follow her through this work. I know about her, Hon Lo and Granny, and then she goes elsewhere. I thought the film is about a place, and only later realize it’s about a person. This made me confused. The subject matter is good, but it didn’t form a deep impression. I think the director wants to talk about their own family through this work, but does not quite succeed.

Yau: I don’t know what their focus is.

Lee: I feel the same. I see a character that does a lot for other villagers, but what is the film about? I don’t know.

Lai: I think I am the only one who feels the film is good, so I ought to explain. When growing up, we are taught to think that a work has to have a clear message, and only consider a work using this one track mind. I don’t want to be clichéd and say that this work gives me room for imagination. Rather, it gives me many fragments, within which there are many layers. It is a poetic film about the character and her living conditions and her everyday life. Secondly, through the character we learn about many incidents, like the Umbrella Movement and other social movements. The third layer is the conflict between a husband and wife. This work made me think about real people I have met. The filmmaker is part of this family. I like the fact that this film is like an essay, it takes us back into different events. I support this work because it is bold. It is not focused and unified, and does not have a main narrative line, which for me is not a problem. It is not poetry, essay or documentary. I like works that you cannot categorize, which is rare and surprised me.

Lau: I cannot see the director’s intentions. Is this a deliberate choice, or is it because they don’t know how to make films? I don’t see the intent.

Lai: If the director is simply chaotic and achieved this result, that’s quite something. The different layers are very clear. Every time, it goes back and talks about something that was mentioned before. I accept this work because it challenges our viewing habits.

Suen: This is a personal film, like the part at the beginning about the hospital. This made it hard for me to get into the story or like it. I did not get to know the filmmaker’s father through 8 this work as they expected me to. Some parts made me feel uncomfortable. I am okay with the part about social movement. However, the stuff about the hospital made me think that some people like to film everything they can. I am not saying this filmmaker is like that. But it made me think about what my limits are if I were making a film about a person. There are many trivial moments that made it difficult for me to get into the work.

Lai: I feel dethatched, which is a kind of point of view and technique. This film could have been very melodramatic and try to move the audience. This film is not just a documentary, but more like a visual diary. The filmmaker shoots every day and accumulates materials, and edits a work out of available footage. I don’t think there is anything missing or incomplete about the work, or that it is inconsistent in its camera technique. Of all the 10 finalist works, this is the only one like that.

Yau: I think the filmmaker is accusing the mother and defending the father, which made me feel uncomfortable.

…….

(original from: 22nd ifva Open Category Jury Meeting Transcript)

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extended reading: 寫給會去看我鮮浪潮的人 To those who went and may come to see my video “Morning” at Fresh Wave 2017

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