{"id":13520,"date":"2025-11-22T18:16:28","date_gmt":"2025-11-22T10:16:28","guid":{"rendered":"https:\/\/www.glt.org.tw\/?p=13520"},"modified":"2025-12-01T15:32:54","modified_gmt":"2025-12-01T07:32:54","slug":"ext-15-%e7%ac%ac%e5%8d%81%e4%ba%94%e5%b1%86%e5%8f%b0%e7%81%a3%e5%9c%8b%e9%9a%9b%e5%af%a6%e9%a9%97%e5%aa%92%e9%ab%94%e8%97%9d%e8%a1%93%e5%b1%95%ef%bc%8d%e5%8f%b0%e7%81%a3%e5%af%a6%e9%a9%97%e8%80%85","status":"publish","type":"post","link":"https:\/\/www.glt.org.tw\/?p=13520","title":{"rendered":"EX!T 15 \u7b2c\u5341\u4e94\u5c46\u53f0\u7063\u570b\u969b\u5be6\u9a57\u5a92\u9ad4\u85dd\u8853\u5c55\uff0d\u53f0\u7063\u5be6\u9a57\u8005\u4e4b\u96fb\u5f71\u4fee\u884c\uff08\u58f9\uff09\uff1a\u8868\u9762\u7684\u5875\u3001\u5e95\u4e0b\u7684\u8a69\uff0d\u77ed\u7247\u9078\u96c6 Taiwan Experimenters (i): Dust on the Surface, Poetry Beneath"},"content":{"rendered":"

EX!T 15 \u7b2c\u5341\u4e94\u5c46\u53f0\u7063\u570b\u969b\u5be6\u9a57\u5a92\u9ad4\u85dd\u8853\u5c55<\/strong><\/p>\n

\u53f0\u7063\u5be6\u9a57\u8005\u4e4b\u96fb\u5f71\u4fee\u884c\uff08\u58f9\uff09\uff1a\u8868\u9762\u7684\u5875\u3001\u5e95\u4e0b\u7684\u8a69\uff0d\u77ed\u7247\u9078\u96c6 Taiwan Experimenters (i): Dust on the Surface, Poetry Beneath<\/strong><\/span><\/p>\n

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

\"\"<\/p>\n

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

\u3010\u7bc0\u76ee\u7c21\u4ecb\u3011<\/strong><\/h4>\n

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

\u570b\u5f71\u96fb\u5f71\u7de8\u865f\uff1aM2025_12_12<\/p>\n

\u653e\u6620\u898f\u683c\uff1aDCP\ufe5116mm<\/p>\n

\u7d1a\u5225\uff1a\u9650\u5236\u7d1a<\/p>\n

\u7247\u9577\uff1a102\u5206\u9418<\/p>\n

\u767c\u97f3\uff1a\u7121\u5c0d\u767d<\/p>\n

\u5b57\u5e55\uff1a\u7121\u5b57<\/p>\n

 <\/p>\n

\u2606 \u6620\u524d\u5c0e\u8046 Pre-screening intro<\/strong><\/p>\n

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

\u2726\u3010\u8cfc\u7968\u8cc7\u8a0a\u3011\u2726<\/strong><\/p>\n

\u653e\u6620\u6642\u9593\uff1a2025.12.12 (\u4e94) 14:20 – 16:04<\/strong><\/p>\n

\u653e\u6620\u5ef3\uff1a\u570b\u5bb6\u96fb\u5f71\u53ca\u8996\u807d\u6587\u5316\u4e2d\u5fc3-\u5c0f\u5f71\u683c<\/strong><\/p>\n

\u7968\u50f9\uff1a220\u5143<\/strong><\/p>\n

\u8cfc\u7968\u7db2\u7ad9\uff1a<\/strong>https:\/\/www.opentix.life\/event\/1983747053865725952<\/span><\/a><\/p>\n

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

\u3010\u5f71\u7247\u4ecb\u7d39\u3011<\/strong><\/p>\n

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

\"\"<\/p>\n

    \n
  1. \u8b80\u4e0d\u5230\u7684\u8a69 An Unreadable Poem\u00a0<\/b><\/li>\n<\/ol>\n

    \u838a\u82b7\u51e1 Zhifan CHUANG<\/span><\/p>\n

    Taiwan \uff5c 2008 \uff5c 16mm to digital\uff5c Color \uff5c Sound \uff5c 1min 43sec<\/span><\/p>\n

     <\/p>\n

    \u539f\u662f\u4e00\u9996\u9867\u57ce\u7684\u8a69\u300a\u4e00\u4ee3\u4eba\u300b\u3002<\/span><\/p>\n

    \u5f71\u7247\u4e2d\u7684\u6587\u5b57\u5728\u6642\u9593\u6d41\u52d5\u4e2d\uff0c\u9010\u6f38\u6d88\u5931\u3001\u5206\u89e3\u3001\u8f49\u63db\uff0c\u751f\u9577\u51fa\u539f\u672c\u610f\u542b\u4e4b\u5916\uff0c\u53e6\u4e00\u7a2e\u5f71\u50cf\u8a69\u6b4c\u3002\u7576\u6587\u5b57\u518d\u4e5f\u7121\u6cd5\u8faf\u8b80\u4e4b\u5f8c\uff0c\u53ea\u7559\u4e0b\u55ae\u7d14\u6d41\u52d5\u7684\u7e6a\u756b\uff0c\u9084\u6709\u5e95\u7247\u4e0a\u97f3\u8ecc\u6b98\u7559\u7684\u8072\u97f3\uff0c\u6c92\u6709\u7279\u5225\u7684\u610f\u7fa9\u537b\u5145\u6eff\u9a5a\u559c\u3002<\/span><\/p>\n

     <\/p>\n

    There are eight times repetitions of a poem in the film, which was originally written by a Chinese contemporary poet Gu Chen. In each repetition, the poem is gradually decomposed its meanings by the fragmentation of the Chinese characters until completely unreadable in the end. The\u00a0 fragmentations of characters intensify its unreadability, and in turn the poem takes on different meanings.<\/span><\/p>\n

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

    \"\"<\/p>\n

      \n
    1. \u84b8\u767c\u66f8\u7c21 Jouhatsu Letters<\/b><\/li>\n<\/ol>\n

      \u5de5\u85e4\u96c5 Masa Kudo & \u5f35\u82e5\u6db5 Johan Chang<\/span><\/p>\n

      Taiwan\/Japan \uff5c 2024 \uff5cSuper8, Single8, 16mm transfer to digital\uff5c Color \uff5c Sound \uff5c 30min\u00a0<\/span><\/p>\n

       <\/p>\n

      \u75ab\u60c5\u7576\u4e2d\uff0c\u65e5\u672c\u548c\u53f0\u7063\u7684\u5f71\u50cf\u5275\u4f5c\u8005\u4e92\u76f8\u5f15\u7528\u5c0d\u65b9\u9001\u4f86\u7684\u5f71\u50cf\u6216\u8072\u97f3\uff0c\u958b\u555f\u66f8\u4fe1\u96fb\u5f71\u3002\u5169\u4eba\u4ea4\u63db\u7684\u5fc3\u8c61\u98a8\u666f\u8207\u65e5\u5e38\u624b\u5de5\u5be6\u9a57\uff0c\u4e5f\u5982\u7d19\u672c\u4fe1\u4ef6\u822c\uff0c\u593e\u96dc\u751f\u6d3b\u8207\u5de5\u4f5c\u4e2d\u7d2f\u7a4d\u3001\u6ef2\u900f\u3001\u7121\u6cd5\u62ed\u53bb\u7684\u91cd\u91cf\u8207\u6c61\u6f2c\u3002\u900f\u904e\u5a92\u6750\u75d5\u8de1\uff0c\u5169\u4eba\u60f3\u50cf\u8457\u5f7c\u6b64\u7684\u65e5\u5e38\uff0c\u8a66\u5716\u4ee5\u5f71\u50cf\u8a9e\u8a00\u7d66\u4e88\u56de\u61c9\u3002\u8207\u75ab\u60c5\u5171\u884c\u7684\u66f8\u4fe1\u96fb\u5f71\uff0c\u4eff\u82e5\u7de3\u5206\u822c\u7684\u5713\uff0c\u50cf\u662f\u6c92\u6709\u7d42\u9ede\u822c\u7684\u6301\u7e8c\u767c\u751f\u8457\u3002<\/span><\/p>\n

       <\/p>\n

      A back-and-forth correspondence between two filmmakers living in Tokyo and Taipei. These video letters began during the COVID-19 pandemic, when it was difficult for them to meet in person, and continued until 2024. The letters follow a simple rule: each reply must quote a sound or image from the previous letter. These quotations become loose threads connecting the letters, yet each one stands alone as a complete, self-contained world.<\/span><\/p>\n

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

      \"\"<\/p>\n

        \n
      1. \u5f85\u4ee5\u540d\u4e4b\u7684\u4e8b\u7269 The Unnamed<\/b><\/li>\n<\/ol>\n

        \u9ec3\u4e9e\u6b77 Ya-Li HUANG\u00a0<\/span><\/p>\n

        Taiwan \uff5c 2010 \uff5c 35mm transferred digital\uff5c Color \uff5c Sound \uff5c 10min 48sec<\/span><\/p>\n

         <\/p>\n

        \u672c\u7247\u5efa\u57fa\u65bc\u5f71\u97f3\u9593\u7684\u8a69\u6027\u9023\u7d50\u8207\u975e\u56e0\u679c\u6027\u908f\u8f2f\uff0c\u892a\u53bb\u7269\u9ad4\u7684\u5be6\u7528\u5316\u3001\u529f\u80fd<\/span><\/p>\n

        \u6027\uff0c\u89c0\u7167\u73fe\u5be6\u4e2d\u4e8b\u7269\u7684\u539f\u521d\u72c0\u614b\uff0c\u7d93\u7531\u5c0d\u5fae\u5c0f\u7d30\u7bc0\u7684\u6f38\u6b21\u611f\u77e5\uff0c\u7de8\u7e54\u591a\u91cd<\/span><\/p>\n

        \u7684\u8a69\u610f\u60f3\u50cf\u3002<\/span><\/p>\n

         <\/p>\n

        This film is constructed upon the visual poetry between what you hear and see, and a sensual fluidity that is not based on the cause and effect relationship. It casts away the practicalities and the functionalities commonly defined in real-world objects by returning things to their raw state, and guiding the viewer\u2019s awareness to the finer details, while intertwining layers of poetic imagery.<\/span><\/p>\n

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

        \"\"<\/p>\n

          \n
        1. \u4f0a\u4eba Yi-Ren (the person of whom I think)\u00a0<\/b><\/li>\n<\/ol>\n

          \u5433\u6893\u5b89 Tzu-An Wu\u00a0<\/span><\/p>\n

          Taiwan \uff5c 2015 \uff5c S8mm to digital\uff5c Color \uff5c Sound \uff5c 13min 45sec<\/span><\/p>\n

           <\/p>\n

          \u300a\u4f0a\u4eba\u300b\u662f\u4e00\u5c01\u7531\u591a\u7a2e\u7d20\u6750\u62fc\u8cbc\u800c\u6210\u7684\u60c5\u66f8\u3002\u4f7f\u7528\u7d20\u6750\u5982\u79c1\u4eba\u7684\u8d85\u516b\u6beb\u7c73\u65e5\u8a18\u3001\u5361\u62c9OK\u4f34\u5531\u5e36\u3001\u4e00\u4e9b\u5f9e\u90b1\u525b\u5065((1940-2013)\u7684\u96fb\u5f71\u62fe\u4f86\u7684\u73fe\u6210\u5f71\u50cf\u8207\u8a69\u3001\u7b49\u7b49\u3002\u672c\u4f5c\u4ea6\u662f\u5c0d\u90b1\u525b\u5065\u7684\u81f4\u656c\u8207\u9177\u5152\u6b6a\u8b80\uff0c\u91cd\u7d44\u73fe\u6210\u7684\u8a69\u53e5\u8207\u5f71\u50cf\uff0c\u5c07\u501f\u7528\u7684\u6a94\u6848\u5f71\u50cf\uff08found footage\uff09\u8207\u79c1\u5bc6\u7684\u65e5\u8a18\u96fb\u5f71\uff08dairy film\uff09\u4ea4\u878d\u7d50\u5408\u3002\u6216\u8005\uff0c\u6240\u6709\u79c1\u5bc6\u7684\u7d93\u9a57\u5176\u5be6\u90fd\u662f\u501f\u4f86\u7684\u2026\u2026\u5982\u540c\u90b1\u7684\u8a69\u53e5\u300c\u6211\u7684\u53eb\u8072\u88e1\u4e5f\u6709\u6211\u770b\u904e\u7684\u597d\u840a\u5862\u96fb\u5f71\u300d\u6240\u793a\uff0c\u82e5\u975e\u900f\u904e\u6211\u5011\u66fe\u770b\u904e\u7684\u96fb\u5f71\uff0c\u8207\u6f14\u6280\uff0c\u6211\u5011\u7684\u60c5\u611f\u5c07\u7121\u6cd5\u5b58\u5728\u3002<\/span><\/p>\n

          \u00a0<\/span><\/p>\n

          \u672c\u4f5c\u4f7f\u7528\u96d9\u87a2\u5e55\uff0c\u64cd\u5f04\u591a\u7a2e\u610f\u8c61\u3001\u5f62\u5f0f\u8207\u5a92\u6750\u7684\u96d9\u91cd\u6027\uff0c\u5f62\u69cb\u5f71\u50cf\u9593\u7684\u5c0d\u4f4d\u95dc\u4fc2\uff0c\u4e26\u5229\u7528\u5f71\u50cf\u7684\u8f49\u8b6f\u8207\u8b8a\u8cea\uff0c\u5982\u6578\u4f4d\u8207\u81a0\u5377\u7684\u8f49\u63db\u5fa9\u8fd4\uff0c\u5a92\u6750\u8f49\u63db\u9593\u7684\u9694\u4ee3\u640d\u5dee (generation loss)\u3002\u800c\u6750\u6599\u7684\u8655\u7406\u65b9\u5f0f\uff0c\u4ea6\u5982\u540c\u60c5\u611f\u7684\u96b1\u55bb\uff0c\u662f\u73fe\u6210\u7684\u3001\u6a21\u4eff\u7684\u3002\u82b1\u958b\u82b1\u8b1d\u3001\u64ab\u6478\u8207\u6293\u7a7a\u7684\u624b\u3001\u7159\u706b\u3001\u6d6e\u73fe\u800c\u5fa9\u6563\u53bb\u7684\u81c9\u8207\u4eba\u2026\u2026 \u900f\u904e\u5f71\u50cf\u8207\u5a92\u4ecb\u9593\u7684\u518d\u88fd\u8207\u8b8a\u9020\u3001\u8207\u91cd\u8986\uff0c\u751f\u6210\u4e00\u6bb5\u9762\u76ee\u6726\u6727\u7684\u6558\u4e8b\uff0c\u5c0d\u8a71\uff1a\u617e\u671b\u4e3b\u9ad4\u8207\u5ba2\u9ad4\u9593\u7684\u79c1\u8a9e\u8207\u5931\u843d\u3002<\/span><\/p>\n

           <\/p>\n

          Yi-Ren<\/span><\/i> (can be vaguely translated to \u201cthe person of whom I think\u201d) is a collaged love letter made of various sources. Such as my super8 mm diaries, karaoke videos, and found-footage from Kang-Chien Chiu (1940-2013)\u2019s films, and poems. It is also an act of homage and a queer reading of Chiu. Reassemble, manipulate the materials, and melt the ready-made and the personal into one. Or, maybe the personal emotions and experiences are actually all borrowed from someone and somewhere\u2026 As the line \u201cmy moans have a bit of Hollywood in them\u201d suggests, our emotions would not exist without acting, or movies we have seen.<\/span><\/p>\n

           <\/p>\n

          This double channel employed the duality of the forms, the images, and the media. They are played in counterpoints, and presented as a metaphor of the mechanism of our emotions. Like the generation loss came from transfer between digital and analogue film. The materials were handled as the ready-made affection. The flowers bloom and wither, the hands caress or grab the air, people pass through and the faces vanishes\u2026 Through reproducing and manipulating the lines and images, it generates a floating narrative, a murmur between the subject of lost and the object of desire.<\/span><\/p>\n

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

          \"\"<\/p>\n

            \n
          1. \u68b5\u8c37\u7684\u8033\u6735 Van Gogh\u2019s Ear<\/b>\uff08\u6700\u65b0 4K \u6578\u4f4d\u62f7\u8c9d\u53f0\u7063\u9996\u6620\uff09<\/span><\/li>\n<\/ol>\n

            \u5433\u7c73\u68ee Mi-Sen WU<\/span><\/p>\n

            Taiwan\/USA \uff5c 1995 \uff5c 16mm to 4K digital\uff5c Color\/B&W \uff5c Sound \uff5c 20min\u00a0<\/span><\/p>\n

             <\/p>\n

            \u00a0\u300a\u68b5\u8c37\u7684\u8033\u6735\u300b\u5c0d\u6211\u800c\u8a00\u6df1\u5177\u610f\u7fa9\u3002\u5b83\u4ee3\u8868\u4e86\u4e00\u500b\u5275\u4f5c\u7684\u9328\u9ede\uff0c\u5f15\u5c0e\u6211\u4e09\u5341\u591a\u5e74\u85dd\u8853\u65c5\u7a0b\u7684\u53c3\u7167\u9ede\u3002\u9019\u90e8\u77ed\u7247\u662f\u6211\u5c0d\u8072\u97f3\u8207\u5f71\u50cf\u3001\u73fe\u5be6\u8207\u60f3\u50cf\u4e4b\u9593\u76f8\u4e92\u4f5c\u7528\u7684\u601d\u8003\uff0c\u4ee5\u53ca\u6211\u5011\u611f\u77e5\u548c\u8a6e\u91cb\u5468\u906d\u4e16\u754c\u7684\u8907\u96dc\u65b9\u5f0f\u63a2\u7d22\u7684\u9996\u822a\u3002<\/span><\/p>\n

            \u00a0<\/span><\/p>\n

            \u5f71\u50cf\u53ea\u662f\u4e00\u7a2e\u5e7b\u8c61\u7684\u5f62\u5f0f\uff1f\u9019\u500b\u4e16\u754c\u4e16\u754c\u4e2d\uff0c\u4e00\u5207\u90fd\u88ab\u7cbe\u5fc3\u88fd\u4f5c\u3001\u7de8\u8f2f\uff0c\u4e26\u6309\u7167\u7279\u5b9a\u6a21\u5f0f\u7de8\u78bc\uff0c\u8f49\u8b8a\u70ba\u53ef\u6d88\u8cbb\u7684\u5f71\u50cf\u548c\u8868\u5fb5\u3002\u9019\u7a2e\u69cb\u5efa\u65e8\u5728\u7dad\u6301\u6211\u5011\u5c0d\u8207\u73fe\u5be6\u9023\u7d50\u7684\u4fe1\u5fc3\u3002\u7e6a\u756b\u4f5c\u70ba\u4e00\u7a2e\u85dd\u8853\u5f62\u5f0f\uff0c\u513c\u7136\u627f\u8a8d\u5ba2\u89c0\u4e16\u754c\u5728\u63cf\u7e6a\u4e2d\u7684\u7f3a\u5e2d\u3002\u76f8\u6bd4\u4e4b\u4e0b\uff0c\u5f71\u50cf\uff0c\u5c24\u5176\u662f\u96fb\u5f71\u4e2d\u7684\u5f71\u50cf\uff0c\u5229\u7528\u4e86\u4eba\u985e\u300c\u8996\u89ba\u7684\u7455\u75b5\u300d\uff08\u8996\u89ba\u66ab\u7559\uff09\u80af\u5b9a\u4e86\u6211\u5011\u77ed\u66ab\u7684\u5b58\u5728\uff0c\u900f\u904e\u63a5\u53d7\u6211\u5011\u5728\u9019\u500b\u4e16\u754c\u4e2d\u77ac\u606f\u7684\u5b58\u5728\u4f86\u63ed\u793a\u81ea\u6211\u3002<\/span><\/p>\n

            \u00a0<\/span><\/p>\n

            \u5927\u591a\u6578\u4eba\u50be\u5411\u65bc\u5c07\u60f3\u50cf\u7684\u4e16\u754c\u8996\u70ba\u8207\u771f\u5be6\u4e16\u754c\u5206\u96e2\uff0c\u7136\u800c\u9019\u5169\u500b\u9818\u57df\u5e38\u5e38\u4ea4\u7e54\u5728\u4e00\u8d77\u3002\u4e8b\u5be6\u4e0a\uff0c\u6211\u5011\u5c0d\u73fe\u5be6\u7684\u7406\u89e3\u5f88\u5927\u7a0b\u5ea6\u4e0a\u662f\u7531\u60f3\u50cf\u5851\u9020\u7684\u3002\u6b63\u662f\u900f\u904e\u60f3\u50cf\uff0c\u6211\u5011\u5efa\u7acb\u4e86\u5c0d\u73fe\u5be6\u50f9\u503c\u3001\u610f\u7fa9\u53ca\u5b58\u5728\u7684\u4fe1\u5ff5\u3002\u56e0\u6b64\uff0c\u653e\u68c4\u60f3\u50cf\u7b49\u540c\u65bc\u65b7\u7d55\u8207\u4e16\u754c\u7684\u806f\u7e6b\u3002\u9019\u90e8\u5c0f\u54c1\u65e8\u5728\u63a2\u7d22\u4e26\u95e1\u8ff0\u9019\u7a2e\u6df1\u523b\u7684\u806f\u7e6b\u3002<\/span><\/p>\n

            \u00a0<\/span><\/p>\n

            \u8072\u97f3\u5728\u9019\u6b21\u63a2\u7d22\u4e2d\u626e\u6f14\u8457\u95dc\u9375\u89d2\u8272\uff1b\u5b83\u662f\u8a9e\u8a00\u7cfb\u7d71\u7684\u4e00\u500b\u91cd\u8981\u9762\u5411\uff0c\u6df1\u6df1\u5d4c\u5165\u6211\u5011\u7684\u610f\u8b58\u3002\u4efb\u4f55\u9304\u97f3\u8a2d\u5099\uff0c\u5373\u4fbf\u4ee5\u6700\u539f\u59cb\u5f62\u5f0f\u90fd\u53ef\u4ee5\u8a73\u5be6\u7684\u6355\u6349\u8072\u97f3\uff0c\u4f46\u651d\u5f71\u6a5f\u96e3\u4ee5\u518d\u73fe\u89ba\u73fe\u5be6\u672c\u8cea\u3002\u5982\u679c\u5c07\u5f71\u50cf\u53ef\u4ee5\u518d\u73fe\u771f\u5be6\uff0c\u90a3\u9ebc\u8072\u97f3\u5c31\u662f\u771f\u7406\u7684\u5316\u8eab\uff1f\u8eab\u70ba\u8a9e\u8a00\u7cfb\u7d71\u7684\u53e6\u4e00\u9762\u5411\u662f\u300c\u610f\u7fa9\u300d\uff1b\u7136\u5f8c\u5f71\u50cf\u662f\u610f\u7fa9\u6700\u7a31\u8077\u7684\u8f09\u9ad4\u55ce\uff1f\u5728\u300a\u68b5\u8c37\u7684\u8033\u6735\u300b\u4e2d\uff0c\u6211\u8a66\u5716\u63a2\u8a0e\u8072\u97f3\u8207\u5f71\u50cf\u4e4b\u9593\u7684\u5171\u751f\u95dc\u4fc2\u3002\u901a\u904e\u4f7f\u7528\u8072\u97f3\u4f5c\u70ba\u8a18\u61b6\u7684\u624b\u6bb5\uff0c\u6211\u5011\u53ef\u80fd\u6703\u66f4\u63a5\u8fd1\u4e3b\u984c\u7684\u539f\u59cb\u672c\u8cea\u3002\u9019\u7a2e\u65b9\u6cd5\u6311\u6230\u4e86\u50b3\u7d71\u5c0d\u73fe\u5be6\u7684\u8a8d\u77e5\uff0c\u4fc3\u4f7f\u89c0\u773e\u8cea\u7591\u4e26\u91cd\u65b0\u8a55\u4f30\u4ed6\u5011\u5c0d\u4e16\u754c\u7684\u7406\u89e3\u3002\u900f\u904e\u76f4\u89ba\u6027\u7684\u4f48\u5c40\u3001\u5de7\u5408\u8207\u985b\u8986\uff1b\u4e00\u7aba\u771f\u7406\u7684\u96e3\u4ee5\u6349\u6478\u7684\u672c\u8cea\u3002<\/span><\/p>\n

            \u00a0<\/span><\/p>\n

            \u5728\u69cb\u5efa\u9019\u500b\u6558\u4e8b\u6642\uff0c\u6211\u7684\u76ee\u6a19\u662f\u8d85\u8d8a\u5e38\u898f\u7684\u8aaa\u6545\u4e8b\u6280\u5de7\u53ca\u539f\u7406\uff0c\u878d\u5408\u8996\u89ba\u548c\u807d\u89ba\u5143\u7d20\u4ee5\u5275\u9020\u591a\u611f\u5b98\u9ad4\u9a57\u3002\u96fb\u5f71\u7684\u7d50\u69cb\u523b\u610f\u975e\u7dda\u6027\uff0c\u53cd\u6620\u4e86\u73fe\u5be6\u548c\u60f3\u50cf\u7684\u6d41\u52d5\u6027\u548c\u4e92\u806f\u6027\u3002\u6bcf\u500b\u5834\u9762\u662f\u5de7\u601d\u4e5f\u662f\u96a8\u610f\uff0c\u4ee5\u559a\u8d77\u4e00\u7a2e\u66d6\u6627\u548c\u5167\u7701\uff0c\u9f13\u52f5\u89c0\u773e\u5728\u66f4\u6df1\u5c64\u6b21\u3001\u66f4\u500b\u4eba\u7684\u5c64\u9762\u4e0a\u8207\u5f71\u50cf\u4e92\u52d5\u3002<\/span><\/p>\n

            \u00a0<\/span><\/p>\n

            \u300a\u68b5\u8c37\u7684\u8033\u6735\u300b\u662f\u5c0d\u60f3\u50cf\u53ca\u8072\u97f3\u7684\u81f4\u656c\uff0c\u4ee5\u53ca\u5b83\u5728\u5851\u9020\u6211\u5011\u5c0d\u73fe\u5be6\u8a8d\u77e5\u4e2d\u7684\u91cd\u8981\u89d2\u8272\u3002\u5b83\u662f\u4e00\u4efd\u9080\u8acb\uff1b\u64c1\u62b1\u6211\u5011\u5b58\u5728\u7684\u8907\u96dc\u6027\u548c\u77db\u76fe\uff0c\u8046\u807d\u900f\u904e\u8072\u97f3\u8ff4\u97ff\u7684\u6f5b\u5728\u771f\u7406\uff0c\u4e26\u770b\u5230\u5f71\u50cf\u8868\u9762\u4e4b\u5916\u7684\u5be6\u9ad4\u3002\u8072\u97f3\u548c\u5f71\u50cf\u7d55\u975e\u5c0d\u7acb\uff0c\u5979\u751a\u81f3\u63d0\u9192\u4e86\u6211\u5011\uff1a\u5f71\u50cf\u53ea\u662f\u842c\u7269\u7684\u5916\u8863\u55ce\uff1f<\/span><\/p>\n

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

            Van Gogh\u2019s Ear<\/span><\/i> holds deep personal significance for me. It represents a creative anchor, a point of reference that has guided my artistic journey for over thirty years. This short film is a culmination of my reflections on the interplay between sound and image, reality and imagination, and the intricate ways in which we perceive and interpret the world around us.<\/span><\/p>\n

            \u00a0<\/span><\/p>\n

            Is the image just a form of shadow? In our modern world, everything is meticulously crafted, edited, and encoded according to specific models, transforming into consumable images and representations. This meticulous construction serves to maintain our confidence in our connection with reality. Painting, as an art form, has come to accept the withdrawal of the objective world, acknowledging its absence in its portrayal. In contrast, images, particularly in cinema, leverage human “visual flaws” (visual persistence) to affirm our transient existence, revealing the self through the acceptance of our fleeting presence in this world.<\/span><\/p>\n

            \u00a0<\/span><\/p>\n

            Most people tend to see the imagined world as separate from the real world, yet these two realms are often intertwined. Our understanding of reality is largely shaped by our imagination. It is through imagination that we establish our beliefs in the value, meaning, and existence of reality. Therefore, abandoning imagination equates to severing our connection with the world. This short film aims to explore and illustrate this profound connection.<\/span><\/p>\n

            \u00a0<\/span><\/p>\n

            Sound plays a pivotal role in this exploration; it is an integral aspect of the linguistic system, deeply embedded in our consciousness. Any recording device, even in its most primitive form, can capture sound faithfully, but cameras often struggle to fully encapsulate the essence of visual reality. If images can represent reality, then sound embodies truth. Sound is omnipresent, with no true silence or quietness. Even in silent films, the absence of synchronized sound creates a unique correspondence between visual imagery and orchestral scores, generating a counterpoint that resonates deeply with the audience.<\/span><\/p>\n

            \u00a0<\/span><\/p>\n

            In <\/span>Van Gogh\u2019s Ear<\/span><\/i>, I seek to delve into the symbiotic relationship between sound and image. By using sound as a means of recollection, we can potentially draw closer to the original essence of the subject. This approach challenges traditional perceptions of reality, prompting the audience to question and re-evaluate their understanding of the world. Through intuitive layouts, coincidences, and subversions, we aim to glimpse the elusive nature of truth.<\/span><\/p>\n

            \u00a0<\/span><\/p>\n

            In constructing this narrative, my goal is to transcend conventional storytelling techniques and principles, blending visual and auditory elements to create a multi-sensory experience. The film\u2019s structure is deliberately non-linear, reflecting the fluidity and interconnectivity of reality and imagination. Each scene is meticulously crafted yet spontaneous, evoking a sense of ambiguity and introspection, encouraging the audience to engage with the film on a deeper, more personal level.<\/span><\/p>\n

            \u00a0<\/span><\/p>\n

            Van Gogh\u2019s Ear<\/span><\/i> is a tribute to imagination and sound, and their crucial role in shaping our understanding of reality. It is an invitation to embrace the complexities and contradictions of our existence, to listen to the underlying truths that resonate through sound, and to see beyond the surface of images. Sound and image are not opposing forces; they remind us that images are merely the outer garment of all things.<\/span><\/p>\n

             <\/p>\n

            Runtime: 75.5 mins<\/span><\/p>\n

             <\/p>\n

            \u95dc\u65bc\u5c0e\u6f14 About the Filmmakers\uff1a<\/b><\/p>\n

             <\/p>\n

            \u2726 \u838a\u82b7\u51e1 Zhifan CHUANG<\/strong><\/span><\/p>\n

             <\/p>\n

            \u7f8e\u570b\u820a\u91d1\u5c71\u85dd\u8853\u5b78\u9662\u85dd\u8853\u5275\u4f5c\u78a9\u58eb\uff0c\u4e3b\u4fee\u96fb\u5f71\u5275\u4f5c\u3002\u8fd1\u5e74\u4f86\u5c08\u6ce8\u5728\u8eab\u5fc3\u4fee\u884c\uff0c\u958b\u5275\u300c\u4e00\u5ff5\u4e4b\u5149\u300dSati Creative Space\uff0c\u63a8\u5ee3\u5404\u5f0f\u7d50\u5408\u85dd\u8853\u975c\u5fc3\u8207\u80fd\u91cf\u7642\u7652\u7684\u8ab2\u7a0b\u3002<\/span><\/p>\n

             <\/p>\n

            Zhifan Chuang holds a Master of Fine Arts in Filmmaking from the San Francisco Art Institute (SFAI). In recent years, she has focused on spiritual practice, founding Sati Creative Space, where she offers a variety of programs combining art meditation and energy healing.<\/span><\/p>\n

             <\/p>\n

            \u2726 \u5de5\u85e4\u96c5 Masa KUDO & \u5f35\u82e5\u6db5 Johan CHANG<\/strong><\/p>\n

             <\/p>\n

            \u5f35\u82e5\u6db5<\/strong>\uff0c 1990 \u5e74\u751f\u65bc\u53f0\u7063\u53f0\u5357\uff0c\u5f9e\u4e8b\u7d00\u9304\u7247\u8207\u88fd\u7247\u5de5\u4f5c\u591a\u5e74\uff0c 2019 \u81f3 2021 \u5e74\u4fee\u7fd2\u6771\u4eac image forum \u6620\u50cf\u7814\u7a76\u6240\u5be6\u9a57\u96fb\u5f71\u8ab2\u7a0b\u3002\u4f5c\u54c1\u591a\u4ee5 8mm \u70ba\u5275\u4f5c\u5a92\u6750\uff0c\u4e26\u4ee5\u65e5\u8a18\u96fb\u5f71\u8207\u7d00\u9304\u6027\u8cea\u5f71\u50cf\u70ba\u5275\u4f5c\u57fa\u5e95\uff0c\u63a2\u7d22\u500b\u4eba\u8a18\u61b6\u8207\u793e\u6703\u95dc\u4fc2\u3002<\/span><\/p>\n

            \u5de5\u85e4\u96c5\uff0c1993 \u5e74\u751f\u65bc\u65e5\u672c\u5317\u6d77\u9053\u3002\u81ea\u5e7c\u559c\u6b61\u5728\u96fb\u8996\u4e0a\u770b\u52d5\u756b\uff0c\u4e26\u66fe\u610f\u5916\u7528\u5bb6\u4e2d\u7684\u76f8\u6a5f\u62cd\u4e0b\u4e00\u5f35\u5f35\u7684\u7167\u7247\u5f8c\u505a\u6210\u52d5\u756b\u3002\u5927\u5b78\u66fe\u4ee5\u5718\u9ad4\u4f5c\u696d\u5b8c\u6210\u52d5\u756b\u7fd2\u4f5c\uff0c 2019 \u5e74\u524d\u5f80\u6771\u4eac Image Forum \u6620\u50cf\u7814\u7a76\u6240\uff0c\u958b\u555f\u500b\u4eba\u6b63\u5f0f\u7684\u5275\u4f5c\uff0c\u4f5c\u54c1\u4ee5\u7279\u6b8a\u624b\u6cd5\u7372\u65e5\u672c\u570b\u5167\u5916\u5f71\u5c55\u80af\u5b9a\u3002<\/span><\/p>\n

             <\/p>\n

            Johan Chang<\/strong> (b. 1990, Tainan, Taiwan) has been working in documentary film festivals\/organizations and producing documentaries for many years. She started to make her personal projects in 2019 at Image Forum\u2019s courses in Tokyo, Japan. Her work explores the expression of moving images to address memory, image-making, hand-made process, and diary films. She is also a member of ReaRflex (Taiwan) and Ground Rebel\/Level Cinema (Japan). Johan is currently based in Taipei, Taiwan.<\/span><\/p>\n

             <\/p>\n

            Masa Kudo is an animation filmmaker born in Chitose, Hokkaido in 1993. Their filmography includes \u201cDifference and Repetition and Coffee\u201d (drawing animation \/ 5min \/ 2020), \u201cTokyo cyanoghosts\u201d (animation by cyanotype (blueprint) \/ 3min \/ 2021) and \u201cStill Life\u201d (animation with acrylic paint \/ 3min \/2021). Their work has been screened at Image Forum Festival East Asian Experimental Competition, New Chitose Airport International Animation Film Festival, GLAS Animation Festival international competition, Zagreb International Animation Film Festival, Moscow International Experimental Film Festival and more. They have been awarded the Hokkaido Governor Award at the New Chitose Airport International Animation Film Festival, the Yoji Kuri Award and the ASK? Film Competition, and an Honorable Mention at the New Cosmos of Photography 2022 (selected by Yuki Onodera), among others.<\/span><\/p>\n

             <\/p>\n

            \u2726 \u9ec3\u4e9e\u6b77 Ya-Li HUANG\u00a0<\/strong><\/p>\n

             <\/p>\n

            \u53f0\u7063\u7368\u7acb\u88fd\u7247\u4f5c\u8005\uff0c\u95dc\u6ce8\u65bc\u5f71\u50cf\u3001\u8072\u97f3\u7684\u806f\u7e6b\u8207\u5ef6\u4f38\u6027\u3002\u8fd1\u5e74\u4f86\u6295\u8eab\u65bc\u88fd\u4f5c\u53f0\u7063\u65e9\u671f\u76f8\u95dc\u4e3b\u984c\u4e4b\u7d00\u9304\u7247\uff0c\u5e0c\u671b\u900f\u904e\u6b77\u53f2\u7684\u68b3\u7406\u548c\u6aa2\u8996\uff0c\u63a2\u7d22\u7d00\u9304\u7247\u771f\u5be6\u7684\u8a6e\u91cb\u53ef\u80fd\uff0c\u4e26\u53cd\u601d\u81fa\u7063\u8207\u4e9e\u6d32\u3001\u4e16\u754c\u4e4b\u9593\u7684\u95dc\u4fc2\u3002\u7d00\u9304\u9577\u7247\u300a\u65e5\u66dc\u65e5\u5f0f\u6563\u6b65\u8005\u300b\u73722016\u5e74\u91d1\u99ac\u734e\uff0c\u4e26\u5165\u9078\u9e7f\u7279\u4e39\u570b\u969b\u5f71\u5c55\u300c\u672a\u4f86\u4e4b\u5149\uff08Bright Future\uff09\u55ae\u5143\u3002<\/span><\/p>\n

             <\/p>\n

            Huang Ya-Li is an independent filmmaker in Taiwan, and is interested in the linkage between and extension of images and sounds.In recent years, he has been involved in documentaries concerning Taiwan during these Japanese colonial period, and hopes to explore the possibility of interpreting reality in the form of documentaries through historical research and examination, and also reflect on the relationship between Taiwan, Asia, and the world. His experimental works include <\/span>The Unnamed <\/span><\/i>(2010). <\/span>The Pursuit of what was <\/span><\/i>(2008), etc. His first feature-length documentary Le Moulin has won in the 53rd Golden Horse Award (2016) the Best Documentary Award, and was nominated for Best Sound Effects Award. It was also selected in International Film Festival Rotterdam, 2016.<\/span><\/p>\n

             <\/p>\n

            \u2726 \u5433\u6893\u5b89 Tzu-An WU\u00a0<\/strong><\/p>\n

             <\/p>\n

            \u5433\u6893\u5b89\u5f9e\u4e8b\u5be6\u9a57\u96fb\u5f71\u7684\u5275\u4f5c\u3001\u63a8\u5ee3\u3001\u7814\u7a76\u8207\u64f4\u5ef6\u3002\u4ed6\u4ee5Super 8\u548c16mm\u81a0\u5377\u7684\u6280\u6cd5\uff0c\u62fc\u8cbc\u7570\u8cea\u7684\u5f71\u50cf\u3001\u8072\u97f3\u8207\u6587\u672c\u9032\u884c\u5275\u4f5c\uff0c\u8cea\u554f\u96fb\u5f71\u6558\u4e8b\u8207\u81ea\u6211\u5efa\u69cb\u3002<\/span><\/p>\n

             <\/p>\n

            \u7562\u696d\u65bc\u53f0\u7063\u6e05\u83ef\u5927\u5b78\u4eba\u6587\u793e\u6703\u5b78\u7cfb\uff0c\u7d10\u7d04\u65b0\u5b78\u9662\uff08The New School\uff09\u5a92\u9ad4\u7814\u7a76\u6240\u3002\u4f5c\u54c1\u5448\u73fe\u5f62\u5f0f\u5305\u62ec\u653e\u6620\uff0c\u5c55\u89bd\u8207\u8868\u6f14\u3002\u5f71\u5c55\u7d93\u6b77\u5305\u62ec\uff1a\u502b\u6566BFI Flare\u3001\u9e7f\u7279\u4e39\u5f71\u5c55\u3001\u820a\u91d1\u5c71\u96fb\u5f71\u8cc7\u6599\u9928\u3001\u96ea\u83f2\u723e\u7d00\u9304\u5f71\u5c55\u3001\u6771\u4eacImage Forum\u3001\u9996\u723eEXiS\u3001\u5409\u9686\u5761KLEX\u3001\u53f0\u7063\u91d1\u7a57\u734e\u3001\u91d1\u99ac\u5f71\u5c55\u3001\u53f0\u7063\u570b\u969b\u7d00\u9304\u7247\u5f71\u5c55\u7b49\u3002\u5c55\u89bd\u7d93\u6b77\u5305\u62ec\uff1a\u53f0\u5317\u7f8e\u8853\u734e\u3001\u53f0\u7063\u9304\u50cf\u96d9\u5e74\u5c55\u3001\u53f0\u7063\u96d9\u5e74\u5c55\u3001\u53f0\u5317\u570b\u969b\u85dd\u8853\u6751\u3001\u99ac\u5c3c\u62c9\u5927\u90fd\u6703\u7f8e\u8853\u9928\u7b49\u3002<\/span><\/p>\n

             <\/p>\n

            \u4ed6\u4e5f\u662f\u76ee\u8076\u6620\u50cf\u6587\u5316\u8207\u5be6\u9a57\u96fb\u5f71\u5718\u9ad4\u5f8c\u7167\u93e1\u7684\u5275\u59cb\u6210\u54e1\uff0c\u53c3\u8207\u7b56\u5283\u5404\u7a2e\u5be6\u9a57\u96fb\u5f71\u6620\u6f14\u6d3b\u52d5\u3002<\/span><\/p>\n

             <\/p>\n

            Tzu-An Wu works between experimental film and its expansions. He makes collages with analogue films, through mixing heterogeneous images, audio, and texts, he attempts to inquire about the relationship between narratives and the selves.<\/span><\/p>\n

             <\/p>\n

            He holds an MA in Media Studies from The New School, New York, and a BA in Gender and Cultural Studies from NTHU, Taiwan. His works are presented in the forms of screenings, exhibitions, and expanded cinema performances, and have been shown internationally, including BFI Flare (London), IFFR (Netherland), CROSSROADS (San Francisco), Festival des Cin\u00e9mas Diff\u00e9rents et Exp\u00e9rimentaux de Paris, Golden Horse Film Festival (Taiwan), TIDF(Taiwan), Taipei Art Awards, Taiwan Biennial, Taiwan International Video Art Exhibition, Metropolitan Museum of Manila and more.<\/span><\/p>\n

             <\/p>\n

            He also programs experimental films, and has been a member of the experimental filmmaker group \u201cReaRflex\u201d and Bak-Nih Audiovisual Lab.<\/span><\/p>\n

             <\/p>\n

            \u2726 \u5433\u7c73\u68ee Mi-Sen WU<\/strong><\/p>\n

             <\/p>\n

            \u7562\u696d\u65bc\u7d10\u7d04\u5e02\u7acb\u5927\u5b78\u96fb\u5f71\u7cfb\uff0c\u4ea6\u66fe\u4fee\u7fd2\u5efa\u7bc9\u8207\u795e\u5b78\u30021999\u5e74\u4ee5\u8207\u91d1\u65af\u5821\u5408\u4f5c\u7684\u300a\u68b5\u8c37\u7684\u8033\u6735\u300b\u5d84\u9732\u982d\u89d2\uff0c\u9577\u7247\u300a\u8d77\u6bdb\u7403\u4e86\u300b\uff082000\uff09\u3001\u300a\u7d66\u6211\u4e00\u96bb\u8c93\u300b\uff082002\uff09\u3001\u300a\u677e\u9f20\u81ea\u6bba\u4e8b\u4ef6\u300b\uff082006\uff09\u4ee5\u51b7\u51bd\u8a69\u610f\u7684\u5f71\u50cf\u63a2\u7d22\u57ce\u5e02\u5bd3\u8a00\uff0c\u4e26\u5165\u9078\u591a\u9805\u570b\u969b\u5f71\u5c55\u3002\u300a\u5f88\u4e45\u6c92\u6709\u656c\u6211\u4e86\u59b3\u300b\uff082015\uff09\u878d\u5408\u539f\u4f4f\u6c11\u8207\u53e4\u5178\u6a02\uff0c\u5237\u65b0\u5169\u5ef3\u9662\u7968\u623f\u7d00\u9304\u4e26\u64d4\u4efb\u9ad8\u96c4\u96fb\u5f71\u7bc0\u958b\u5e55\u7247\u3002\u7d00\u9304\u7247\u4f5c\u54c1\u5169\u5ea6\u7372\u91d1\u9418\u734e\u975e\u5287\u60c5\u985e\u6700\u4f73\u5c0e\u6f14\u3002\u8fd1\u671f\u4f5c\u54c1\u5305\u62ec\u300a\u7b49\u5f85\u300b\uff082025\uff09\u8207\u300a\u4e94\u8f2a\u7269\u8a9e\u300b\uff082025\uff09\u3002<\/span><\/p>\n

             <\/p>\n

            Mi-Sen Wu studied film at the City University of New York and also pursued architecture and theology. He first gained recognition with <\/span>Van Gogh\u2019s Ear<\/span><\/i> (1995), a collaboration with Allen Ginsberg. His feature films\u2014<\/span>Fluffy Rhapsody<\/span><\/i> (2000), <\/span>Drop Me a Cat<\/span><\/i> (2002), and <\/span>Amour-Legende<\/span><\/i> (2006)\u2014are noted for their cool, poetic explorations of urban allegory and have been selected for major international film festivals. His musical adaptation <\/span>Kara-Orchestra<\/span><\/i> (2015), blending Indigenous and classical music, broke box office records at Taiwan\u2019s National Theatre and opened the Kaohsiung Film Festival. Wu has twice won the Golden Bell Award for Best Non-Fiction Director. His recent works include <\/span>Waiting<\/span><\/i> (2025) and <\/span>The Capriccio of Five Rings<\/span><\/i> (2025).<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

            EX!T 15 \u7b2c\u5341\u4e94\u5c46\u53f0\u7063\u570b\u969b\u5be6\u9a57\u5a92\u9ad4\u85dd\u8853\u5c55 \u53f0\u7063\u5be6\u9a57\u8005\u4e4b\u96fb\u5f71\u4fee\u884c\uff08\u58f9\uff09\uff1a\u8868\u9762\u7684\u5875\u3001\u5e95\u4e0b\u7684\u8a69\uff0d\u77ed\u7247\u9078\u96c6 Ta […]<\/p>\n","protected":false},"author":4,"featured_media":13521,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[210,219,20,7,39,17],"tags":[],"class_list":["post-13520","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-dec","category-219","category-schedule","category-glt_program","category-39","category-programs"],"_links":{"self":[{"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/posts\/13520","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=13520"}],"version-history":[{"count":2,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/posts\/13520\/revisions"}],"predecessor-version":[{"id":13621,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/posts\/13520\/revisions\/13621"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/media\/13521"}],"wp:attachment":[{"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13520"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=13520"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=13520"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}