{"id":13542,"date":"2025-11-22T18:39:26","date_gmt":"2025-11-22T10:39:26","guid":{"rendered":"https:\/\/www.glt.org.tw\/?p=13542"},"modified":"2025-11-29T15:25:48","modified_gmt":"2025-11-29T07:25:48","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%e7%84%a6%e5%bd%b1%e4%ba%ba%ef%bc%9a%e7%99%bd","status":"publish","type":"post","link":"https:\/\/www.glt.org.tw\/?p=13542","title":{"rendered":"EX!T 15 \u7b2c\u5341\u4e94\u5c46\u53f0\u7063\u570b\u969b\u5be6\u9a57\u5a92\u9ad4\u85dd\u8853\u5c55\uff0d\u7126\u5f71\u4eba\uff1a\u767d\u9280\u6642\u4ee3\uff0d\u5289\u6613\u65af\u30fb\u514b\u62c9\u723e 9 \u90e8\u7cbe\u9078\u96fb\u5f71 Filmmaker in Focus: The Silver Age \u2013 9 Selected Films by Lewis Klahr"},"content":{"rendered":"

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

\u7126\u5f71\u4eba\uff1a\u767d\u9280\u6642\u4ee3\uff0d\u5289\u6613\u65af\u30fb\u514b\u62c9\u723e 9 \u90e8\u7cbe\u9078\u96fb\u5f71 Filmmaker in Focus: The Silver Age \u2013 9 Selected Films by Lewis Klahr<\/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_10<\/p>\n

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

\u7d1a\u5225\uff1a\u666e\u904d\u7d1a<\/p>\n

\u7247\u9577\uff1a72\u5206\u9418<\/p>\n

\u767c\u97f3\uff1a\u82f1\u8a9e\ufe51\u7121\u5c0d\u767d<\/p>\n

\u5b57\u5e55\uff1a\u4e2d\u5b57\u3001\u7121\u5b57\u5e55<\/p>\n

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\u2605 \u5289\u6613\u65af\u514b\u62c9\u723e\uff08\u62fc\u8cbc\u96fb\u5f71\u85dd\u8853\u5bb6\uff09\u3001\u5289\u884c\u6b23\uff08EX!T15 \u7b56\u5c55\u4eba, \u96fb\u5f71\u5c0e\u6f14\u8207\u85dd\u8853\u5bb6\uff09\u51fa\u5e2d\u6620\u5f8c\u5ea7\u8ac7 Post-screening talk with Lewis Klahr and Cherlyn Liu Hsing-hsin<\/p>\n

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

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

\u653e\u6620\u6642\u9593\uff1a2025.12.13 (\u516d) 17:10-18:59<\/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\uff1ahttps:\/\/www.opentix.life\/event\/1985973586032398337<\/span><\/a><\/strong><\/p>\n

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

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

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

\u805a\u7126\u5f71\u4eba\uff1a\u767d\u9280\u6642\u4ee3\uff0d\u5289\u6613\u65af\u30fb\u514b\u62c9\u723e 9 \u90e8\u7cbe\u9078\u96fb\u5f71\u00a0<\/strong><\/span><\/p>\n

Filmmaker in Focus: The Silver Age \u2013 9 Selected Films by Lewis Klahr<\/strong><\/span><\/p>\n

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

    \n
  1. 1<\/b>. \u727d\u725b\u661f Altair<\/b><\/li>\n<\/ol>\n

    USA \uff5c 1995 \uff5c 16mm to digital\uff5c Color \uff5c Sound \uff5c 8min\u00a0<\/span><\/p>\n

     <\/p>\n

    \u9019\u7121\u7591\u662f\u6211\u62cd\u904e\u7684\u6700\u7f8e\u7684\u96fb\u5f71\uff0c\u4e5f\u53ef\u80fd\u662f\u6700\u53d7\u6b61\u8fce\u7684\u96fb\u5f71\u3002<\/span><\/p>\n

     <\/p>\n

    \u6700\u521d\u6211\u6253\u7b97\u7528\u9ed1\u767d\u81a0\u5377\u62cd\u651d\u300a\u727d\u725b\u661f\u300b\uff0c\u4f46\u6211\u592a\u559c\u6b61\u539f\u59cb\u7d20\u6750\u7684\u8272\u5f69\uff0c\u6240\u4ee5\u6c7a\u5b9a\u6539\u7528\u5f69\u8272\u3002\u9019\u4f7f\u5f97\u6700\u7d42\u7684\u96fb\u5f71\u770b\u8d77\u4f86\u66f4\u50cf\u662f\u4e00\u90e8\u60c5\u7bc0\u5287\uff0c\u800c\u4e0d\u662f\u9ed1\u8272\u96fb\u5f71\u3002\u9019\u4e9b\u5716\u7247\u662f\u5f9e\u4e8c\u5341\u4e16\u7d00\u56db\u5341\u5e74\u4ee3\u672b\u671f\u7684\u516d\u671f\u300a\u6642\u5c1a\u300b\u96dc\u8a8c\u4e2d\u7cbe\u9078\u51fa\u4f86\u7684\uff0c\u4e26\u914d\u4e0a\u65af\u7279\u62c9\u6587\u65af\u57fa\u7684\u300a\u706b\u9ce5\u300b\u4e2d\u8fd1\u56db\u5206\u9418\u7684\u7247\u6bb5\uff08\u5faa\u74b0\u5169\u6b21\uff09\uff0c\u71df\u9020\u51fa\u4e00\u500b\u9670\u68ee\u800c\u82ac\u82b3\u7684\u4e16\u754c\u3002\u6b63\u5982\u6211\u5728 1988 \u5e74\u63a5\u89f8\u9019\u500b\u985e\u578b\u7684\u4f5c\u54c1\u300a\u87cb\u87c0\u4e4b\u6708\u300b\u4e00\u6a23\uff0c\u6545\u4e8b\u6558\u8ff0\u975e\u5e38\u6a21\u7cca\uff0c\u53ea\u7559\u4e0b\u8f03\u5927\u7684\u5973\u6027\u4e3b\u89d2\u6545\u4e8b\u8def\u6a19\u53ef\u4ee5\u8fa8\u8a8d\u3002\u9f13\u52f5\u89c0\u773e\u63a8\u6e2c\u9019\u4f4d\u5973\u6027\u8207\u5f37\u5927\u7684\u60e1\u6bd2\u793e\u6703\u529b\u91cf\u9b25\u722d\u7684\u6027\u8cea\u548c\u7d30\u7bc0\uff0c\u4ee5\u53ca\u5979\u9677\u5165\u9157\u9152\u72c0\u614b\u7684\u904e\u7a0b\u3002\u7136\u800c\uff0c\u503c\u5f97\u6ce8\u610f\u7684\u662f\uff0c\u4ee5\u4e0a\u6240\u6709\u5167\u5bb9\u90fd\u53ea\u662f\u767c\u73fe\u6027\u7684\u7de8\u8f2f\u3002\u00a0 \u5728\u9019\u90e8\u96fb\u5f71\u7684\u5927\u90e8\u5206\u5373\u8208\u62cd\u651d\u904e\u7a0b\u4e2d\uff0c\u6700\u6fc0\u767c\u6211\u9748\u611f\u7684\u662f\u5c0d\u85cd\u8272\u7684\u8ff7\u6200\uff0c\u4ee5\u53ca\u5b83\u5c0d\u6211\u800c\u8a00\u8207\u6211\u60f3\u50cf\u4e2d\u7684 20 \u4e16\u7d00 40 \u5e74\u4ee3\u6230\u5f8c\u7f8e\u570b\u6240\u5177\u6709\u7684\u5049\u5927\u7684\u89e3\u812b\u958b\u653e\u611f\u4e4b\u9593\u7684\u67d0\u7a2e\u96e3\u4ee5\u8a00\u55bb\u7684\u806f\u7e6b\u3002<\/span><\/p>\n

     <\/p>\n

    \u300a\u727d\u725b\u661f\u300b\u5728 1995 \u5e74\u60e0\u7279\u5c3c\u96d9\u5e74\u5c55\u548c\u7d10\u7d04\u5f71\u5c55\u4e2d\u90fd\u53d7\u5230\u5ee3\u6cdb\u95dc\u6ce8\u3002\u5b83\u5df2\u88ab\u7d10\u7d04\u73fe\u4ee3\u85dd\u8853\u535a\u7269\u9928\u8cfc\u8cb7\u4f5c\u70ba\u5176\u6c38\u4e45\u6536\u85cf\u3002<\/span><\/p>\n

     <\/p>\n

    Certainly the most beautiful film I’ve ever made and possibly the most beloved.\u00a0<\/span><\/p>\n

     <\/p>\n

    Originally I was going to shoot <\/span>Altair<\/span><\/i> in B&W\u00a0 but I loved the color in my source materials so much that I decided to switch to color. This turned the finished film into more of a melodrama than a film noir. The images were culled from six, late forties issues of Cosmopolitan magazine and set to an almost 4 minute segment of Stravinsky\u2019s \u201cFirebird\u201d (looped twice) to create a sinister, perfumed world. As in my 1988 visit to this genre In The Month of Crickets the narrative is highly smudged leaving legible only the larger signposts of the female protagonists story. The viewer is encouraged to speculate on the nature and details of the woman\u2019s battle with large, malevolent societal forces and her descent into an alcoholic swoon. However, it is important to note that all of the above was only discovered editing.\u00a0 What motivated me most, during the largely improvisatory shooting of this film, was a fascination with the color blue and some ineffable association it has for me with what I imagined to be the great sense of relieved openness of the post war America of the 1940\u2019s.<\/span><\/p>\n

     <\/p>\n

    Altair<\/span><\/i> received much attention when it was included in both the 1995 Whitney Biennial and the New York Film Festival. It has been purchased by New York\u2019s Museum of Modern Art for their permanent collection.<\/span><\/p>\n

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

    \"\"<\/p>\n

      \n
    1. \u9b3c\u5f71\u5149\u5708 <\/b>The Aperture of Ghostings<\/b><\/li>\n<\/ol>\n

      USA \uff5c <\/span>1999-2001<\/span>\u00a0 \uff5c 16mm to digital\uff5c Color \uff5c Sound \uff5c <\/span>13min\u00a0<\/span><\/p>\n


      \n<\/span>\u6b64\u4e09\u90e8\u66f2\u5305\u62ec A trilogy that includes\uff1a<\/b><\/p>\n

      \u827e\u723e\u838e\u30fb\u67ef\u514b Elsa Kirk (1999) 5:18<\/b><\/p>\n

      \u51f1\u745f\u7433\u8857 Catherine Street (2001) 3:11<\/b><\/p>\n

      \u76ba\u5df4\u5df4\u7684\u9577\u888d\u5fae\u7b11 Creased Robe Smile (2001) 4:36<\/b><\/p>\n

       <\/p>\n

      1990 \u5e74\u4ee3\u4e2d\u671f\uff0c\u6211\u5728\u7d10\u7d04\u5e02\u6771\u6751\u7684\u4e00\u5bb6\u820a\u8ca8\u5e97\u88e1\u767c\u73fe\u4e86\u9019\u4e09\u90e8\u96fb\u5f71\u7684\u651d\u5f71\u5e95\u7247\u3002\u5176\u4e2d\u53ea\u6709\u4e00\u5f35\u5e95\u7247\u4e0a\u6a19\u8a3b\u4e86\u59d3\u540d\u548c\u65e5\u671f\uff1a\u300c\u827e\u723e\u838e\u30fb\u67ef\u514b\uff0c1963 \u5e74 2 \u6708 22 \u65e5\u300d\uff0c\u4e0a\u9762\u6709\u9019\u4f4d\u5929\u771f\u7121\u90aa\u7684\u6a21\u7279\u5973\u6f14\u54e1\u7684 12 \u5f35\u7167\u7247\u3002\u53e6\u5916\u5169\u5f35\u5e95\u7247\u4e0a\u4e5f\u6709 12 \u5f35\u7167\u7247\uff0c\u4f46\u6c92\u6709\u59d3\u540d\u548c\u65e5\u671f\u3002\u96d6\u7136\u6211\u88ab\u9019\u4e9b\u7167\u7247\u4e2d\u5f37\u70c8\u7684\u865b\u69cb\u611f\u548c\u7d00\u5be6\u611f\u6df1\u6df1\u5438\u5f15\uff0c\u4f46\u4e00\u958b\u59cb\uff0c\u6211\u7121\u6cd5\u5c07\u5b83\u5011\u8f49\u5316\u70ba\u62fc\u8cbc\u52d5\u756b\u3002\u56e0\u6b64\uff0c\u6211\u6539\u8b8a\u4e86\u901a\u5e38\u7684\u88fd\u4f5c\u6d41\u7a0b\uff0c\u958b\u59cb\u5c0d\u9019\u4e9b\u7d19\u5f35\u9032\u884c\u8907\u5370\u653e\u5927\uff0c\u4e26\u5c07\u5176\u4f5c\u70ba\u4e00\u7cfb\u5217\u4e8c\u7dad\u62fc\u8cbc\u756b\u7684\u80cc\u666f\u3002\u6f38\u6f38\u5730\uff0c\u9019\u4e9b\u90fd\u8b8a\u6210\u4e86\u96fb\u5f71\u7684\u6545\u4e8b\u677f\uff0c\u4e26\u5f15\u5c0e\u6211\u5275\u4f5c\u51fa\u4e00\u7a2e\u8c61\u5f62\u6587\u5b57\u8499\u592a\u5947\u98a8\u683c\u7684\u8096\u50cf\u756b\uff0c\u9019\u7a2e\u65b9\u6cd5\u662f\u6211\u5728\u4e8c\u5341\u5e74\u524d\u7b2c\u4e00\u6b21\u88ab\u526a\u8f2f\u7684\u6f5b\u529b\u6240\u5438\u5f15\u6642\u5c31\u76f4\u89ba\u5730\u60f3\u5230\u7684\uff0c\u4f46\u5f9e\u672a\u80fd\u5920\u5728\u96fb\u5f71\u4e2d\u6355\u6349\u5230\u3002<\/span><\/p>\n

      \u2014\u2014\u5289\u6613\u65af\u30fb\u514b\u62c9\u723e<\/span><\/p>\n

       <\/p>\n

      In the mid-1990s I unearthed the photographic contact sheets that this trilogy of films was created from in a thrift store in the East Village of New York City. Only one contact sheet was named and dated: “Elsa Kirk, Feb 22 ’63” and it had twelve images of this ingenue, model actress.\u00a0 The other 2 contact sheets also had 12 images but no names or dates included. Although I found myself infatuated by the strong sense of fiction and document in all these images, at first, I was unable to translate them into collage animation. So I reversed my usual process and began making Xerox enlargements of the contact sheets which became backgrounds for a series of 2-D collages. Gradually, these became storyboards for the film and led me to a hieroglyphic montage style of portraiture, an approach that I had intuited when first attracted to the potential of cutouts two decades before but had never been able to capture on film.<\/span>
      \n<\/span>— Lewis Klahr<\/span><\/p>\n

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

        \n
      1. 3<\/b>. 1980 \u5e74\u6625\u5b63 <\/b>Spring ’80\u00a0<\/b><\/li>\n<\/ol>\n

        USA \uff5c 1980 \uff5c <\/span>S8mm<\/span> to digital\uff5c Color \uff5c Silent \uff5c 3min 26sec\u00a0<\/span><\/p>\n

         <\/p>\n

        \u5728\u76f8\u6a5f\u65e5\u8a18\u96fb\u5f71\u4e2d\u5b8c\u5168\u7de8\u8f2f\u7684\u5f71\u7247\u5927\u90e8\u5206\u90fd\u662f\u5728\u8d85\u516b\u6beb\u7c73\u4e0a\u62cd\u651d\u7684\u55ae\u5e40\uff08\u4e00\u5377 Ektachrome G\uff0c\u9069\u5408\u65e5\u5149\u548c\u4eba\u9020\u5149\u62cd\u651d\uff09\u3002<\/span><\/p>\n

         <\/p>\n

        An entirely edited in the camera diary film mostly shot single frame on Super 8 (one roll of Ektachrome G which was good for both daylight and artificial light shooting).<\/span><\/p>\n

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

        \"\"
        \n<\/b><\/p>\n

          \n
        1. 4. \u5047\u8870\u8001 False Aging<\/b><\/li>\n<\/ol>\n

          USA \uff5c 2008 \uff5c Video\uff5c Color \uff5c Sound \uff5c 14min 45sec \uff5c\u4e2d\u6587\u5b57\u5e55<\/span><\/p>\n

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

          \u300c\u5f88\u96e3\u76f8\u4fe1\u300a\u865b\u5047\u8870\u8001\u300b\u7684\u7247\u9577\u4e0d\u5230 15 \u5206\u9418\uff0c\u56e0\u70ba\u5b83\u5f37\u70c8\u5730\u559a\u8d77\u4e86\u4eba\u5011\u5c0d\u904e\u53bb\u7684\u5e7e\u5341\u5e74\u7684\u56de\u61b6\uff0c\u800c\u9019\u4e9b\u56de\u61b6\u4e2d\u5145\u6eff\u4e86\u6e34\u671b\u548c\u907a\u61be\u3002\u4e00\u500b\u6309\u9215\u570d\u7e5e\u8457\u6642\u9418\u65cb\u8f49\u2014\u2014\u4e16\u754c\u96a8\u4e4b\u79fb\u52d5\u3002\u514b\u62c9\u723e\u8207\u7d04\u745f\u592b\u30fb\u5eb7\u5948\u723e\u4e00\u6a23\u5177\u6709\u7149\u91d1\u8853\u5929\u8ce6\uff0c\u4f46\u4ed6\u62fc\u8cbc\u7684\u5e7b\u60f3\u6295\u4e0b\u4e86\u66f4\u6df1\u7684\u9670\u5f71\uff0c\u4e26\u6c92\u6709\u4efb\u4f55\u795e\u5947\u7684\u4fdd\u8b77\u5a03\u5a03\u4e26\u907f\u514d\u6b7b\u4ea1\u3002\u300d<\/span><\/p>\n

          \u2014 \u514b\u91cc\u65af\u6c40\u74ca\u65af\uff08Kristin M. Jones\uff09\uff0c\u300a\u96fb\u5f71\u8a55\u8ad6\u96dc\u8a8c\u300b\uff0c2009 \u5e74 1 \u6708\/2 \u6708\uff0c\u300a\u672a\u77e5\u7684\u9818\u57df\uff1a\u4f86\u81ea\u4e16\u754c\u5404\u5730\u7684\u672a\u77e5\u7684\u6a02\u8da3\u300b\uff082008 \u5e74\u6700\u4f73\u5f71\u7247\u532f\u7e3d\uff09\u3002<\/span><\/p>\n

           <\/p>\n

          \u201cIt’s hard to believe that <\/span>False Aging<\/span><\/i> is less than 15 minutes long, given how powerfully it evokes passing decades punctuated by muffled explosions of longing and regret. A button revolves around a clock–and the world moves with it. Klahr shares Joseph Cornell’s alchemical genius, but his collaged reveries cast deeper shadows and offer little magical protection from death and disappointment. The soundtrack draws on <\/span>The Valley of the Dolls<\/span><\/i>, Jefferson Airplane, and Lou Reed and John Cale’s <\/span>Songs for Drella<\/span><\/i>. As Cale channels Warhol, recounting a nightmare involving a snowy park under the stairs and anxieties about troubles real and imagined, a blond man peers at cityscapes, a skeletal hand snatches a fortune, and no-longer-redeemable trading stamps flutter by.\u201d<\/span><\/p>\n

          \u2014Kristin M. Jones, Film Comment Magazine, January\/February 2009, Terra Incognita: Unknown Pleasures From Around the World (a roundup of the best films of 2008).<\/span><\/p>\n

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

            \n
          1. 5<\/b>. \u56db\u8f2a\u795e Four Wheel Gods<\/b><\/li>\n<\/ol>\n

            USA \uff5c 2024 \uff5c Video\uff5c Color \uff5c Silent \uff5c 2min 5sec<\/span><\/p>\n

             <\/p>\n

            \u6b64\u822c\u984f\u8272\u914d\u4e0a 20 \u4e16\u7d00 60 \u5e74\u4ee3\u65e9\u671f\u7684\u7f8e\u570b\u6c7d\u8eca\u3002\u5c0d\u6211\u4f86\u8aaa\u9019\u662f\u4e00\u4efd\u4ee4\u4eba\u6b23\u559c\u7684\u6e05\u55ae\u3002\u5c0d\u4f60\u800c\u8a00\uff1f<\/span><\/p>\n

             <\/p>\n

            Color and early 1960’s American cars. For me an ecstatic list. For you?<\/span><\/p>\n

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

            \"\"<\/p>\n

              \n
            1. 6<\/b>. \u5169\u5206\u9418\u5f8c\u6b78\u96f6 Two Minutes to Zero<\/b><\/li>\n<\/ol>\n

              USA \uff5c 2003 \uff5c Video\uff5c Color \uff5c Sound \uff5c 1min\u00a0<\/span><\/p>\n

               <\/p>\n

              \u4e00\u90e8\u9577\u7bc7\u72af\u7f6a\u96fb\u5f71\u7684\u6545\u4e8b\u88ab\u7701\u7565\u5730\u585e\u9032\u4e86 60 \u79d2\u7684\u653e\u6620\u6642\u9593\u3002<\/span><\/p>\n

              \u97f3\u6a02\u7531\u5df2\u6545\u7684\u5049\u5927\u97f3\u6a02\u5bb6\u683c\u502b\u30fb\u5e03\u862d\u5361\u5275\u4f5c\u2014\u2014\u6458\u9304\u81ea\u4ed6\u7684\u5409\u4ed6\u4ea4\u97ff\u66f2\u300a\u5347\u5929\u300b\u3002<\/span><\/p>\n

              \u7531\u9e7f\u7279\u4e39\u570b\u969b\u96fb\u5f71\u7bc0\u59d4\u8a17\u88fd\u4f5c\u3002<\/span><\/p>\n

               <\/p>\n

              The story of a feature length crime film elliptically jammed into\u00a0 60 seconds of screen time.<\/span><\/p>\n

              Music by the great, late Glenn Branca– an excerpt from his guitar symphony The Ascension.<\/span><\/p>\n

              Commissioned by the International Film Festival Rotterdam.<\/span><\/p>\n

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

                \n
              1. 7<\/b>. \u767d\u9280\u6642\u4ee3 The Silver Age<\/b><\/li>\n<\/ol>\n

                USA \uff5c 2015 \uff5c Video\uff5c Color \uff5c Sound \uff5c 9min\u00a0<\/span><\/p>\n

                 <\/p>\n

                \u9019\u662f\u6211\u7684\u9577\u7247\u7cfb\u5217\u300a\u516d\u5341\u516d\u300b\uff082015 \u5e74\uff0c90 \u5206\u9418\uff09\u7684 12 \u90e8\u7368\u7acb\u77ed\u7247\u4e2d\u7684\u4e00\u90e8\u200b\u200b\uff0c\u4e5f\u662f\u5176\u4e2d\u7684\u4e00\u500b\u91cd\u8981\u7ae0\u7bc0\u3002<\/span><\/p>\n

                 <\/p>\n

                \u300a\u767d\u9280\u6642\u4ee3\u300b\u63cf\u7e6a\u7684\u6d1b\u6749\u78ef\u5145\u6eff\u4e86\u8272\u5f69\u7e7d\u7d1b\u7684\u4eba\u7269\u2014\u2014\u5178\u578b\u7684\u6f2b\u756b\u66f8\u4e2d\u7684\u7f6a\u72af\u548c\u5075\u63a2\u2014\u2014\u6f02\u6d6e\u5728\u6a19\u8a8c\u6027\u5efa\u7bc9\u7167\u7247\u7684\u9ed1\u767d\u8f1d\u714c\u4e2d\uff1a\u6211\u7ae5\u5e74\u6642\u60f3\u50cf\u4e2d\u7684\u6d1b\u6749\u78ef\u73fe\u5728\u611f\u89ba\u5c31\u50cf\u5e0c\u81d8\u795e\u8a71\u4e00\u6a23\u53e4\u8001\u3002<\/span><\/p>\n

                 <\/p>\n

                One of the 12 individual short films that is a climactic chapter of my feature length series <\/span>Sixty Six<\/span><\/i> (2015, 90m).<\/span><\/p>\n

                The Silver Age<\/span><\/i> depicts a Los Angeles alive with lush color figures– archetypal comic book criminals and detectives– drifting through the B&W splendor of iconic architectural photographs: the imaginary Los Angeles of my childhood that now feels as ancient as Greek Myth.<\/span><\/p>\n

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

                  \n
                1. 8<\/b>. \u6295\u964d\u627f\u8afe Capitulations Promise<\/b><\/li>\n<\/ol>\n

                  USA \uff5c 2020 \uff5c Video\uff5c Color \uff5c Sound \uff5c 6min 34sec<\/span><\/p>\n

                   <\/p>\n

                  \u6211\u82b1\u4e86\u4e94\u5e74\u6642\u9593\u5b8c\u6210\u9019\u90e8\u96fb\u5f71\u2014\u2014\u9019\u662f\u6211\u6700\u8fd1\u7684\u9577\u7bc7\u7cfb\u5217\u300a\u5fd8\u6182\u85cd\u73ab\u7470\u300b\u7684\u300c\u71b1\u9580\u55ae\u66f2\u300d\u3002\u7136\u800c\uff0c\u7576\u6211\u9078\u64c7\u4f7f\u7528 Lana Del Ray \u7684\u300a\u871c\u6708\u300b\u9019\u6a23\u4e00\u9996\u4ee4\u4eba\u96e3\u5fd8\u7684\u6d41\u884c\u6b4c\u66f2\u4f5c\u70ba\u914d\u6a02\u6642\uff0c\u9019\u7a2e\u96e3\u5ea6\u7a0b\u5ea6\u6b63\u662f\u6211\u6240\u9810\u6599\u5230\u7684\u3002\u9019\u7a2e\u97f3\u6a02\u5438\u5f15\u6211\u7684\u5730\u65b9\u5728\u65bc\u5b83\u807d\u8d77\u4f86\u65e2\u65b0\u53c8\u820a\uff0c\u8b93\u6211\u80fd\u5920\u5c07\u7576\u4ee3\u610f\u8c61\u8207\u6211\u7684\u96fb\u5f71\u6240\u805e\u540d\u7684 20 \u4e16\u7d00\u4e2d\u671f\u7d20\u6750\u7d50\u5408\u3002 \u300a\u871c\u6708\u300b\u807d\u8d77\u4f86\u4e5f\u50cf\u662f\u4e00\u90e8\u4e0d\u5b58\u5728\u3001\u4e5f\u6c38\u9060\u4e0d\u6703\u5b58\u5728\u7684\u8a79\u59c6\u58eb\u9f90\u5fb7\u96fb\u5f71\u7684\u5371\u96aa\u6d6a\u6f2b\u4e3b\u984c\u66f2\u3002<\/span><\/p>\n

                   <\/p>\n

                  It took me 5 years to complete this film\u2013 the \u201chit single\u201d from my recent feature length series <\/span>The Blue Rose of Forgetfulness<\/span><\/i>. This degree of difficulty is just what I expected, however, when I chose to use such a memorable pop song as Lana Del Ray\u2019s \u201cHoneymoon\u201d as my soundtrack. What attracted me to this music is that it sounds both new and old, which allowed me to integrate contemporary imagery with the mid 20th century sources that my films are known for. \u201cHoneymoon\u201d also sounds like the dangerously romantic theme song to a James Bond film that has not and will never exist.\u00a0<\/span><\/p>\n

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

                    \n
                  1. 9<\/b>. \u8ddd\u96e2\u660e\u5929\u4e94\u5929 5 Days Till Tomorrow\u00a0\u00a0<\/b><\/li>\n<\/ol>\n

                    USA \uff5c 2022 \uff5c Video\uff5c Color \uff5c Sound \uff5c 13min 20sec<\/span><\/p>\n

                     <\/p>\n

                    \u300a\u8ddd\u96e2\u660e\u5929\u4e94\u5929\u300b\u65bc 2015 \u5e74\u958b\u59cb\u5275\u4f5c\uff0c\u4e26\u65bc 2022 \u5e74\u5b8c\u6210\uff0c\u5b83\u8b93\u4eba\u806f\u60f3\u5230\u6c38\u6046\u5922\u5e7b\u822c\u7684\u9ec3\u660f\uff0c\u63cf\u7e6a\u4e86\u4e00\u7fa4\u5947\u5e7b\u6f2b\u756b\u4eba\u7269\u5728 20 \u4e16\u7d00 70 \u5e74\u4ee3\u672a\u4f86\u4e3b\u7fa9\u5efa\u7bc9\u666f\u89c0\u4e2d\u7761\u89ba\u3001\u61f6\u6d0b\u6d0b\u5730\u7b49\u5f85\u8457\u6a19\u984c\u4e2d\u6240\u63cf\u8ff0\u7684\u6f2b\u9577\u591c\u665a\u7d50\u675f\u7684\u5834\u666f\u3002<\/span><\/p>\n

                     <\/p>\n

                    \u9019\u9996\u97f3\u6a02\u662f\u7531\u5049\u5927\u7684 Michael Pisaro-Liu \u6240\u5275\u4f5c\u7684\u300aAkasa\u300b\u3002<\/span><\/p>\n

                     <\/p>\n

                    Begun in 2015 and completed in 2022, <\/span>Five Days Till Tomorrow<\/span><\/i> evokes a timeless oneiric twilight, depicting a menagerie of fantasy comic book characters as they sleep, loll, and patiently inhabit a landscape of 1970s futuristic architecture waiting for the extended night\u2014described in the title\u2014to come to its end.\u00a0<\/span><\/p>\n

                     <\/p>\n

                    The music is “Akasa” by the great Michael Pisaro-Liu.\u00a0<\/span><\/p>\n

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

                    Runtime:\u00a0 72 minutes\u00a0<\/span><\/p>\n

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

                    \u2593 \u95dc\u65bc\u5c0e\u6f14 About the Filmmaker\uff1a<\/b><\/p>\n

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

                    \"\"<\/p>\n

                    \u2726 \u5289\u6613\u65af\u30fb\u514b\u62c9\u723e (Lewis Klahr)<\/strong>\u00a0 \u81ea 1977 \u5e74\u8d77\u958b\u59cb\u62cd\u651d\u96fb\u5f71\uff0c\u5148\u5f8c\u4f7f\u7528 Super 8 \u6beb\u7c73\u81a0\u7247\u300116 \u6beb\u7c73\u81a0\u7247\u548c\u6578\u4f4d\u81a0\u7247\u3002\u4ed6\u4ee5\u5176\u7368\u7279\u7684\u62fc\u8cbc\u96fb\u5f71\u800c\u805e\u540d\uff0c\u9019\u4e9b\u96fb\u5f71\u5229\u7528\u767c\u73fe\u7684\u5716\u50cf\u548c\u8072\u97f3\u4f86\u63a2\u7d22\u8a18\u61b6\u548c\u6b77\u53f2\u7684\u4ea4\u532f\u3002\u514b\u62c9\u723e\u7684\u96fb\u5f71\u5728\u7f8e\u570b\u3001\u6b50\u6d32\u548c\u4e9e\u6d32\u5ee3\u6cdb\u653e\u6620\uff0c\u5305\u62ec\u7d10\u7d04\u73fe\u4ee3\u85dd\u8853\u535a\u7269\u9928\u3001\u60e0\u7279\u5c3c\u96d9\u5e74\u5c55\uff083 \u6b21\uff09\u3001\u7d10\u7d04\u96fb\u5f71\u7bc0\u3001\u591a\u502b\u591a\u570b\u969b\u96fb\u5f71\u7bc0\u3001\u9999\u6e2f\u570b\u969b\u96fb\u5f71\u7bc0\u3001\u6cf0\u7279\u73fe\u4ee3\u7f8e\u8853\u9928\u3001\u84ec\u76ae\u675c\u85dd\u8853\u4e2d\u5fc3\u3001Redcat\u3001MOCA \u548c\u6d1b\u6749\u78ef\u90e1\u85dd\u8853\u535a\u7269\u9928\u3002<\/span><\/p>\n

                     <\/p>\n

                    2010 \u5e74 5 \u6708\uff0c\u885b\u514b\u65af\u7d0d\u85dd\u8853\u4e2d\u5fc3\u8209\u8fa6\u4e86 5 \u5834\u514b\u62c9\u723e\u96fb\u5f71\u56de\u9867\u5c55\u3002 2013 \u5e74 3 \u6708\uff0c\u4ed6\u7684\u6578\u4f4d\u96fb\u5f71\u5728\u96fb\u5f71\u535a\u7269\u9928\u9032\u884c\u4e86\u5468\u672b\u56de\u9867\u5c55\uff0c\u4e26\u5728\u300a\u85dd\u8853\u8ad6\u58c7\u300b\u4e0a\u767c\u8868\u4e86\u9577\u9054 8 \u9801\u7684\u7c21\u4ecb\/\u8a2a\u8ac7\u3002 MoMI \u4e5f\u65bc 2023 \u5e74 10 \u6708\u8209\u8fa6\u4e86 3 \u5834\u514b\u62c9\u723e\u4f5c\u54c1\u56de\u9867\u5c55\u3002\u4ed6\u7684\u96fb\u5f71\u300a\u661f\u671f\u4e09\u51cc\u6668\u4e8c\u6642\u300b\u69ae\u73722010\u5e74\u9e7f\u7279\u4e39\u570b\u969b\u5f71\u5c55\u6700\u4f73\u77ed\u7247\u864e\u734e\u3002\u4ed6\u7684\u53f2\u8a69\u7d1a\u526a\u7d19\u52d5\u756b\u300a\u6cd5\u8001\u738b\u7684\u8170\u5e36\u300b\u65bc 1994 \u5e74\u69ae\u7372\u7f8e\u570b\u570b\u5bb6\u96fb\u5f71\u8a55\u8ad6\u5bb6\u5354\u6703\u9812\u767c\u7684\u5be6\u9a57\u4f5c\u54c1\u7279\u5225\u734e\u3002\u514b\u62c9\u723e\u7684\u5287\u60c5\u9577\u7247\u300a<\/span>The Pettifogger<\/span>\u300b\u88ab\u300a\u85dd\u8853\u8ad6\u58c7\u300b\u96dc\u8a8c\u8a55\u9078\u70ba 2012 \u5e74\u5ea6\u6700\u4f73\u96fb\u5f71\u4e4b\u4e00\u3002\u4ed6\u9084\u7372\u5f97\u4e86\u54e5\u672c\u54c8\u6839\u683c\u502b\u5167\u52a0\u5fb7\u5287\u9662\uff08Lulu\uff09\u548c\u9e7f\u7279\u4e39\u570b\u969b\u96fb\u5f71\u7bc0\uff08Two Minutes to Zero\uff09\u7b49\u6b50\u6d32\u85dd\u8853\u7d44\u7e54\u7684\u59d4\u8a17\u5275\u4f5c\u3002 \u514b\u62c9\u723e\u7684\u4f5c\u54c1\u88ab\u6c38\u4e45\u6536\u85cf\u65bc\u7d10\u7d04\u73fe\u4ee3\u85dd\u8853\u535a\u7269\u9928\u3001Collecion Inelcom \u4ee5\u53ca\u5404\u7a2e\u79c1\u4eba\u6536\u85cf\u3002<\/span><\/p>\n

                     <\/p>\n

                    \u514b\u62c9\u723e\u7684\u9577\u7bc7\u7cfb\u5217\u300a\u516d\u5341\u516d\u300b\u65bc 2015 \u5e74 12 \u6708\u5728\u73fe\u4ee3\u85dd\u8853\u535a\u7269\u9928\u9996\u6620\uff0c\u9580\u7968\u5168\u6578\u552e\u7f44\u3002\u8a72\u7247\u88ab\u300a\u7d10\u7d04\u6642\u5831\u300b\u8a55\u8ad6\u5bb6\u99ac\u8afe\u62c9\u00b7\u9054\u5409\u65af\uff08Manohla Dargis\uff09\u8a55\u9078\u70ba\u5e74\u5ea6\u5341\u5927\u5f71\u7247\u4e4b\u4e00\u3002 2016 \u5e74\u548c 2017 \u5e74\uff0c\u300a\u516d\u5341\u516d\u300b\u5728\u7f8e\u570b\u3001\u6b50\u6d32\u548c\u4e9e\u6d32\u7684\u96fb\u5f71\u7bc0\u3001\u96fb\u5f71\u9662\u548c\u535a\u7269\u9928\u9032\u884c\u4e86\u5de1\u8ff4\u6f14\u51fa\u3002<\/span><\/p>\n

                     <\/p>\n

                    \u514b\u62c9\u723e\u662f 2010 \u5e74\u885b\u514b\u65af\u7d0d\u85dd\u8853\u4e2d\u5fc3\u5a92\u9ad4\u85dd\u8853\u99d0\u7559\u734e\u5f97\u4e3b\u30012013 \u5e74\u5e03\u62c9\u54c8\u683c\u8996\u89ba\u734e\u5f97\u4e3b\u30011992 \u5e74\u53e4\u6839\u6f22\u7814\u7a76\u54e1\uff0c\u4e5f\u66fe\u7372\u5f97\u570b\u5bb6\u85dd\u8853\u57fa\u91d1\u6703\u3001\u7d10\u7d04\u5dde\u85dd\u8853\u59d4\u54e1\u6703\u3001\u5275\u610f\u85dd\u8853\u5bb6\u516c\u5171\u670d\u52d9\u6a5f\u69cb\u3001\u5091\u7f85\u59c6\u57fa\u91d1\u6703\u548c\u5275\u610f\u8cc7\u672c\u7684\u8cc7\u52a9\u3002<\/span><\/p>\n

                     <\/p>\n

                    \u514b\u62c9\u723e\u73fe\u5c45\u6d1b\u6749\u78ef\uff0c\u5728\u52a0\u5dde\u85dd\u8853\u5b78\u9662\u6232\u5287\u5b78\u9662\u4efb\u6559\u3002<\/span><\/p>\n

                     <\/p>\n

                    \u5289\u6613\u65af\u30fb\u514b\u62c9\u723e\u7684\u85dd\u8853\u4f5c\u54c1\u7531\u8607\u9ece\u4e16 Grieder Contemporary \u4ee3\u7406\u3002<\/span><\/p>\n

                     <\/p>\n

                    Lewis Klahr has been making films since 1977 working successively in Super 8, then 16mm and now digital. He is known for his uniquely idiosyncratic collage films, which use found images and sound to explore the intersection of memory and history. Klahr’s films have screened extensively in the United States, Europe and Asia \u2013 in venues such as New York’s Museum of Modern Art, the Whitney Biennial (3 times), the New York Film Festival, the Toronto International Film Festival, the Hong Kong International Film Festival, The Tate Modern, the Pompidou Center, Redcat, MOCA and the LA County Museum of Art.\u00a0<\/span><\/p>\n

                     <\/p>\n

                    In May of 2010 The Wexner Center for the Arts presented a 5 program retropsective of Klahr\u2019s films. In March 2013 his digital Films received a weekend retro at the Museum of the Moving Image that was accomapanied by an 8 page profile\/interview in Artforum. MoMI also did a 3 program retrospective of Klahr\u2019s work in October 2023. His film \u201cWednesday Morning Two A.M.\u201d was awarded a Tiger Award for Best Short Film at the 2010 International Film Festival at Rotterdam. His epic cutout animation \u201cThe Pharaoh\u2019s Belt\u201d received a special citation for experimental work from the National Society of Film Critics in 1994. Klahr’s feature length film “The Pettifogger” was selected as one of the best films of 2012 by Artforum Magazine. He has also received commissions from European arts organizations such as the Gronnegard Theater in Copenhagen (Lulu) and the Rotterdam International Film Festival (Two Minutes to Zero). Klahr\u2019s work is in the permanent collection of the Museum of Modern Art in New York, Collecion Inelcom as well as various private collections.<\/span><\/p>\n

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

                    Klahr\u2019s feature length series Sixty Six premiered in December 2015 at MoMA in a sold out screening. It was included on the NY Times critic Manohla Dargis\u2019 10 Best Films of the year list. Throughout 2016 and 2017 Sixty Six extensively toured the U.S., Europe and Asia in film festivals, cinemas and museums.\u00a0<\/span><\/p>\n

                     <\/p>\n

                    Klahr was The Wexner Center for the Arts 2010 Media Arts Residency Award Winner, the 2013 Brakhage Vision Award winner, a 1992 Guggenheim Fellow and has also received funding from the National Endowment for the Arts, the NY State Council of the Arts, Creative Artists Public service, the Jerome Foundation and Creative Capital.\u00a0<\/span><\/p>\n

                     <\/p>\n

                    Lewis Klahr lives in Los Angeles and teaches full time in the Theater School of the California Institute of the Arts.<\/span><\/p>\n

                     <\/p>\n

                    Lewis Klahr is represented by Grieder Contemporary, Zurich.<\/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 \u7126\u5f71\u4eba\uff1a\u767d\u9280\u6642\u4ee3\uff0d\u5289\u6613\u65af\u30fb\u514b\u62c9\u723e 9 \u90e8\u7cbe\u9078\u96fb\u5f71 Filmma […]<\/p>\n","protected":false},"author":4,"featured_media":13543,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[210,219,20,7,39,17],"tags":[],"class_list":["post-13542","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\/13542","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=13542"}],"version-history":[{"count":4,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/posts\/13542\/revisions"}],"predecessor-version":[{"id":13620,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/posts\/13542\/revisions\/13620"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/media\/13543"}],"wp:attachment":[{"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13542"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=13542"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=13542"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}