{"id":12482,"date":"2024-11-15T22:27:21","date_gmt":"2024-11-15T14:27:21","guid":{"rendered":"https:\/\/www.glt.org.tw\/?p=12482"},"modified":"2024-11-15T22:27:22","modified_gmt":"2024-11-15T14:27:22","slug":"ext-14-%e5%a4%96%e9%83%a8%e8%a7%80%e5%af%9f%e8%80%85%ef%bc%9a%e4%b8%80%e4%bb%bd%e5%8f%b0%e7%81%a3%e7%9a%84%e7%b4%80%e5%bf%b5-external-observer-a-souvenir-of-taiwan","status":"publish","type":"post","link":"https:\/\/www.glt.org.tw\/?p=12482","title":{"rendered":"EX!T 14 – \u5916\u90e8\u89c0\u5bdf\u8005\uff1a\u4e00\u4efd\u53f0\u7063\u7684\u7d00\u5ff5 External Observer: A Souvenir of Taiwan"},"content":{"rendered":"\n

EX!T 14 – \u5916\u90e8\u89c0\u5bdf\u8005\uff1a\u4e00\u4efd\u53f0\u7063\u7684\u7d00\u5ff5<\/strong><\/strong><\/strong> External Observer: A Souvenir of Taiwan<\/strong><\/p>\n\n\n\n

\/<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

\u570b\u5bb6\u96fb\u5f71\u53ca\u8996\u807d\u6587\u5316\u4e2d\u5fc3 \u5c0f\u5f71\u683c Cinema B<\/strong><\/p>\n\n\n\n

12.07 SAT 19:40<\/strong><\/p>\n\n\n\n

\/<\/p>\n\n\n\n

\u83ef\u5c71\uff0c\u53f0\u5317\u00a0 <\/strong>HWA-SHAN-DISTRICT, TAIPEI<\/strong><\/strong><\/p>\n\n\n\n

\u4f2f\u7d0d\u65bd\u8cf4\u7d0d Bernhard SCHREINER\uff5c\u5967\u5730\u5229 Austria\uff5c2000\uff5c16mm\uff5ccolor \uff5c13min<\/p>\n\n\n\n

2022 Ann Arbor Film Festival<\/p>\n\n\n\n

2003 Toronto – IMAGES – Independent Film & Video Festival<\/p>\n\n\n\n

1999\u5e74\u7684\u83ef\u5c71\u662f\u4e00\u7247\u5de5\u696d\u5ee2\u5730\uff0c\u4f5c\u8005\u7cbe\u5fc3\u4f7f\u7528\u5404\u7a2e\u6280\u8853\u5c07\u9019\u7247\u98a8\u666f\u5316\u4f5c\u552f\u670916mm\u81a0\u5377\u624d\u80fd\u986f\u73fe\u51fa\u7684\u6a23\u8c8c\u3002<\/p>\n\n\n\n

Schreiner\u0092s Hwa-Shan District, Taipei is an industrial wasteland. He finely articulated film techniques and made them suitable for the medium.<\/p>\n\n\n\n

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\/<\/p>\n\n\n\n

\u66fe\u9ede\uff0c\u5317\u6295\u00a0 <\/strong>DIAN, PAITO<\/strong><\/strong><\/p>\n\n\n\n

\u4f2f\u7d0d\u65bd\u8cf4\u7d0d Bernhard SCHREINER\uff5c\u5967\u5730\u5229 Austria\uff5c2001\uff5c16mm\uff5cb&w \uff5c6min<\/p>\n\n\n\n

2003 Istanbul – Int. Short Film Festival<\/p>\n\n\n\n

2003 Tokyo – Image Forum Festival<\/p>\n\n\n\n

\u62cd\u651d\u65bc\u4e16\u7d00\u672b\u7684\u53f0\u5317\uff0c\u5448\u73fe\u4e00\u7a2e\u7267\u6b4c\u5f0f\u7684\u60f3\u671b:\u5728\u65b0\u7684\u5149\u7dda\u4e0b\u770b\u898b\u4e8b\u7269\uff0c\u4e26\u7a7f\u900f\u7d93\u9a57\u8207\u8a18\u61b6\u7684\u5c64\u6b21\u3002\u672c\u7247\u4ea6\u62cd\u4e0b\u4e86\u5df2\u6545\u5be6\u9a57\u97f3\u6a02\u5bb6Dino\u5ed6\u9298\u548c\u3002<\/p>\n\n\n\n

In 1999\u2019s Taipei, the film embeds a pastoral longing: seeing things in a new light through layers between experience and memory. It also captured the experimental musician Dino LIAO.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
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\/<\/p>\n\n\n\n

\u773c\u6dda\u4e2d\u7684\u77e5\u8b58\u00a0 <\/strong>Knowledge in Tears<\/strong><\/strong><\/p>\n\n\n\n

\u5091\u514b\u30fb\u6234\u7dad\u68ee Jake Davidson\uff5c\u7f8e\u570b USA\uff5c2022\uff5cHD\uff5ccolor \uff5c9min<\/p>\n\n\n\n

Beijing International Short Film Festival. 2022<\/p>\n\n\n\n

\u4e00\u4f4d\u6676\u7247\u5de5\u7a0b\u5e2b\u5411\u6211\u89e3\u91cb\u65e2\u719f\u6089\u53c8\u672a\u77e5\u7684\u4e8b\u7269\uff1a\u80fd\u5206\u6790\u773c\u6dda\u7684\u667a\u6167\u578b\u96b1\u5f62\u773c\u93e1\u3002\u5f9e\u773c\u6dda\u4e2d\u5275\u9020\u77e5\u8b58\u662f\u4ec0\u9ebc\u610f\u601d\uff1f\u77e5\u8b58\u6b63\u5728\u54ed\u6ce3\u55ce\uff1f<\/p>\n\n\n\n

A microchip engineer explains something both familiar and unknown: A smart contact lens, which can analyze tears. What does it mean to create knowledge from tears? Or is knowledge \u2018in tears\u2019.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
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\/<\/p>\n\n\n\n

\u4f60\u7684\u4e2d\u570b\u4e0d\u662f\u4f60\u7684\u4e2d\u570b\u00a0 <\/strong>China not China<\/strong><\/strong><\/p>\n\n\n\n

\u9edb\u5b89\u5a1c\u30fb\u82ad\u8389\uff06\u7406\u67e5\u5fb7\u30fb\u5716\u5e0c Dianna BARRIE & Richard TUOHY\uff5c\u6fb3\u6d32 Australia\uff5c2018\uff5c16mm\uff5ccolor \uff5c14min<\/p>\n\n\n\n

2018 Melbourne International Film Festival<\/p>\n\n\n\n

\u5c0d\u8857\u666f\u9032\u884c\u591a\u66dd\u5149\uff0c\u626d\u66f2\u7a7a\u9593\u548c\u5730\u9ede\uff0c\u5275\u9020\u51fa\u4e00\u7a2e\u6d41\u52d5\u7684\u7121\u5e38\u548c\u904e\u6e21\u611f\uff0c\u5169\u500b\u570b\u5bb6\u8655\u65bc\u4e2d\u570b\u548c\u975e\u4e2d\u570b\u4e4b\u9593\u7684\u67d0\u500b\u5730\u65b9\u3002<\/p>\n\n\n\n

Multiple exposures of street scenes distort space and place creating a fluid sense of impermanence and transition, of two states somewhere between China and not China.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
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\/<\/p>\n\n\n\n

\u96f2\u6d77\u00a0 <\/strong>Sea of Clouds<\/strong><\/strong><\/p>\n\n\n\n

\u55ac\u6cbb\u30fb\u514b\u62c9\u514b George CLARK\uff5c\u82f1\u570b United Kingdom\uff5c2016\uff5cHD\uff5ccolor \uff5c16min<\/p>\n\n\n\n

2017 31st Image Forum Festival 2017 (Tokyo, Japan)\u00a0<\/p>\n\n\n\n

2017 EXiS 2017 (Seoul, Korea)<\/p>\n\n\n\n

\u300a\u96f2\u6d77\u300b\u53cd\u601d\u5f71\u50cf\u8207\u6558\u4e8b\u53ef\u80fd\u4e4b\u9593\u7684\u95dc\u4fc2\u3002\u5728\u611f\u50b7\u548c\u6b77\u53f2\u56de\u8072\uff0c\u83ef\u8a9e\u548c\u82f1\u8a9e\u4e4b\u9593\uff0c\u53f0\u7063\u8907\u96dc\u7684\u6b77\u53f2\u8207\u73fe\u5be6\u4e4b\u9593\uff0c\u8a66\u5716\u52fe\u52d2\u51fa\u98a8\u666f\u548c\u9059\u9060\u751f\u6d3b\u7684\u8f2a\u5ed3\u3002<\/p>\n\n\n\n

Sea of Clouds <\/em>reflects on the relationship between images and their possible narration. between sentimental feelings and historical echoes, Mandarin and English, Taiwan\u2019s complex history and its present.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
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\/<\/p>\n\n\n\n

\u5c71\u4e4b\u5fc3\u00a0 <\/strong>Heart of a Mountain<\/strong><\/strong><\/p>\n\n\n\n

\u5e15\u62c9\u65af\u90fd\u30fb\u963f\u52aa\u6c99\u6ce2\u3001\u6cd5\u62c9\u8332\u30fb\u963f\u52aa\u6c99\u6ce2\u548c\u840a\u6069\u30fb\u6cd5\u5bc7 Parastoo Anoushahpour, Ryan\u00a0 Ferko, Faraz Anoushahpour\uff5c\u52a0\u62ff\u5927 Canada\uff5c2017\uff5cHD\uff5ccolor \uff5c15min<\/p>\n\n\n\n

2017 Wavelengths, Toronto International Film Festival<\/p>\n\n\n\n

2018 European Media Arts Festival (EMAF), Osnabr\u00fcck, Germany<\/p>\n\n\n\n

\u85dd\u8853\u5bb6\u5c07\u5728\u53f0\u7063\u99d0\u6751\u671f\u9593\u7814\u7a76\u7684\u7269\u4ef6\u6545\u4e8b\u7de8\u78bc\u70ba\u5f71\u50cf\u3002\u5728\u4eba\u985e\u7684\u6b77\u53f2\u8207\u5730\u7406\u7684\u6642\u9593\u4e4b\u9593\uff0c\u6709\u4e00\u584a\u6726\u6727\u7684\u7a7a\u9593\u5206\u5272\u4e86\u8a9e\u8a00\u3002<\/p>\n\n\n\n

The artists researched the objects whose stories are encoded as images. In human history and geological time, the obscure space that separates languages.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
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\/<\/p>\n\n\n\n

\u5531\u6b4c\u7684\u8778\u725b\u00a0 <\/strong>Singing Snails<\/strong><\/strong><\/strong><\/p>\n\n\n\n

\u4ef2\u672c\u64f4\u53f2 Hirofumi Nakamoto \uff5c\u65e5\u672c Japan\uff5c2023\uff5cHD\uff5ccolor \uff5c11min<\/p>\n\n\n\n

\u975e\u6d32\u5de8\u578b\u8778\u725b\u5728\u65e5\u672c\u6642\u4ee3\u88ab\u4f5c\u70ba\u98df\u7269\u5f15\u9032\u53f0\u7063\u3002\u672c\u7247\u7528\u5f71\u50cf\u70ba\u6b64\u4e3b\u984c\u505a\u51fa\u7576\u4ee3\u7684\u601d\u8003\u3002<\/p>\n\n\n\n

African snails migrated to Taiwan as a food source during the Japanese era. The work using images to explore the history and modern reflections of them.<\/p>\n\n\n\n

\"\"<\/figure>\n","protected":false},"excerpt":{"rendered":"

EX!T 14 – \u5916\u90e8\u89c0\u5bdf\u8005\uff1a\u4e00\u4efd\u53f0\u7063\u7684\u7d00\u5ff5 External Observer: A Souv […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-12482","post","type-post","status-publish","format-standard","hentry","category-1"],"_links":{"self":[{"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/posts\/12482","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12482"}],"version-history":[{"count":4,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/posts\/12482\/revisions"}],"predecessor-version":[{"id":12494,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/posts\/12482\/revisions\/12494"}],"wp:attachment":[{"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12482"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12482"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12482"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}