{"id":13562,"date":"2025-11-22T19:01:19","date_gmt":"2025-11-22T11:01:19","guid":{"rendered":"https:\/\/www.glt.org.tw\/?p=13562"},"modified":"2025-11-22T19:01:19","modified_gmt":"2025-11-22T11:01:19","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%e8%81%9a%e7%84%a6%e5%bd%b1%e4%ba%ba%ef%bc%9a","status":"publish","type":"post","link":"https:\/\/www.glt.org.tw\/?p=13562","title":{"rendered":"EX!T 15 \u7b2c\u5341\u4e94\u5c46\u53f0\u7063\u570b\u969b\u5be6\u9a57\u5a92\u9ad4\u85dd\u8853\u5c55\uff0d\u805a\u7126\u5f71\u4eba\uff1a\u4e16\u754c\u7684\u5730\u677f \uff0d \u5609\u59ae\u30fb\u51f1\u745f 8 \u90e8\u7cbe\u9078\u96fb\u5f71 Filmmaker in Focus: The Floor of the World \u2013 8 Selected Films by Janie Geiser"},"content":{"rendered":"

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

\u805a\u7126\u5f71\u4eba\uff1a\u4e16\u754c\u7684\u5730\u677f \uff0d \u5609\u59ae\u30fb\u51f1\u745f 8 \u90e8\u7cbe\u9078\u96fb\u5f71 Filmmaker in Focus: The Floor of the World \u2013 8 Selected Films by Janie Geiser<\/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_13<\/p>\n

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

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

\u7247\u9577\uff1a65\u5206\u9418<\/p>\n

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

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

 <\/p>\n

\u2605 \u5609\u59ae\u51f1\u745f\uff08\u96fb\u5f71\u5c0e\u6f14\u8207\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 Janie Geiser and Cherlyn Liu Hsing-hsin<\/strong><\/p>\n

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

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

\u653e\u6620\u6642\u9593\uff1a2025.12.13 (\u516d) 19:30-21:12<\/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\/1985973970183712769<\/span><\/a><\/strong><\/p>\n

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

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

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

\u805a\u7126\u5f71\u4eba\uff1a\u4e16\u754c\u7684\u5730\u677f \uff0d \u5609\u59ae\u30fb\u51f1\u745f 8 \u90e8\u7cbe\u9078\u96fb\u5f71<\/strong><\/p>\n

Filmmaker in Focus: The Floor of the World \u2013 8 Selected Films by Janie Geiser<\/strong><\/p>\n

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

\"\"<\/p>\n

    \n
  1. 1. \u7a81\u7136\u6b62\u8840\u5e36 Sudden Tourniquet\u00a0<\/b><\/li>\n<\/ol>\n

    USA \uff5c 2025 \uff5c Video\uff5c Color \uff5c Sound \uff5c 7min 41sec<\/span><\/p>\n

     <\/p>\n

    \u4eba\u9ad4\u7684\u91ab\u5b78\u63d2\u5716\u8207\u7d19\u8cea\u5efa\u7bc9\u7269\u4ee5\u53ca\u683d\u57f9\u548c\u91ce\u751f\u690d\u7269\u7684\u5716\u50cf\u878d\u5408\u5728\u4e00\u8d77\uff0c\u7d93\u6b77\u4e86\u4e00\u6bb5\u8d70\u5411\u77ed\u66ab\u6027\u7684\u6a62\u5713\u5f62\u65c5\u7a0b\u3002\u8eab\u9ad4\u5931\u53bb\u4e86\u9ad4\u7a4d\uff0c\u4ee5\u67d0\u7a2e\u65b9\u5f0f\u5b58\u5728\uff0c\u6c92\u6709\u4e86\u8089\u9ad4\u3002\u5b83\u5011\u53ea\u662f\u8f2a\u5ed3\uff0c\u7a7f\u8d8a\u4e0d\u78ba\u5b9a\u7684\u7a7a\u9593\uff0c\u7121\u8ad6\u662f\u5bb6\u5ead\u7a7a\u9593\u9084\u662f\u5176\u4ed6\u5730\u65b9\u3002\u88ab\u5207\u958b\uff0c\u4f46\u6c92\u6709\u6d41\u8840\uff0c\u7576\u6211\u5011\u4e0d\u518d\u6709\u773c\u775b\u6642\uff0c\u6211\u5011\u6703\u770b\u5230\u4ec0\u9ebc\uff1f<\/span><\/p>\n

     <\/p>\n

    \u300c\u5982\u540c\u5922\u5883\uff0c\u6216\u4e00\u5834\u72c2\u71b1\uff0c\u51f1\u745f\u7684\u4f5c\u54c1\u63a2\u8a0e\u8457\u6df1\u4e0d\u53ef\u6e2c\u3001\u96e3\u4ee5\u6349\u6478\u7684\u4e8b\u7269\uff0c\u4e00\u500b\u5728\u5979\u8166\u6d77\u4e2d\u860a\u542b\u8457\u7279\u6b8a\u610f\u7fa9\u7684\u5b87\u5b99\uff0c\u4e00\u500b\u7b49\u5f85\u6211\u5011\u53bb\u63a2\u7d22\u7684\u4e8b\u7269\u2026\u2026\u51f1\u745f\u7684\u5716\u50cf\u4e2d\u860a\u85cf\u8457\u592a\u591a\u503c\u5f97\u63a2\u7d22\u7684\u6771\u897f\uff0c\u5979\u8907\u96dc\u7684\u8a9e\u8a00\u5982\u540c\u4e00\u672c\u539a\u539a\u7684\u6f5b\u610f\u8b58\u4f7f\u7528\u624b\u518a\uff0c\u5145\u6eff\u8da3\u5473\u7684\u5716\u50cf\u6709\u8457\u592a\u591a\u503c\u5f97\u63a2\u7d22\u7684\u6771\u897f\uff0c\u5979\u8907\u96dc\u7684\u8a9e\u8a00\u5982\u540c\u4e00\u672c\u539a\u539a\u7684\u6f5b\u610f\u8b58\u4f7f\u7528\u624b\u518a\uff0c\u5145\u6eff\u8da3\u5473\u7684\u5716\u50cf\u6709\u8457\u7368\u7279\u7684\u8a9e\u8abf\u3002\u300d<\/span><\/p>\n

    \u2014\u2014\u4f55\u585e\u30fb\u85a9\u7c73\u6069\u6258\u30fb\u4f0a\u8afe\u970d\u85a9\uff0c\u300aDesistfilm\u300b<\/span><\/p>\n

     <\/p>\n

    Medical illustrations of bodies merge with paper buildings and images of cultivated and wild plants in an elliptical journey toward ephemerality. The bodies lose their volume and exist, somehow, without flesh. Mere outlines, they travel through indeterminate space, domestic and otherwise. Cut open, but not bleeding, what do we see when we no longer have eyes?\u00a0<\/span><\/p>\n

     <\/p>\n

    \u201cLike a dream, or a fever, Geiser\u2019s work deals with the unfathomable, with the ungraspable, a universe that has a particular meaning inside her mind, something that we deal to discover\u2026 There\u2019s so much to unveil in Geiser\u2019s images, her complex language is like a vast manual of instructions of the unconscious, playful images with a particular voice, layers and layers of different dialogues.\u201d<\/span><\/p>\n

    \u2014\u2014<\/span>Jos\u00e9 Sarmiento Hinojosa, Desistfilm<\/span><\/i><\/p>\n

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

    \"\"<\/p>\n

      \n
    1. <\/li>\n
    2. 2. 22 \u5149\u5e74 22 LIGHT-YEARS<\/b><\/li>\n<\/ol>\n

      USA \uff5c 2021 \uff5c Video\uff5c Color \uff5c Sound \uff5c 13min 30sec<\/span><\/p>\n

       <\/p>\n

      \u300c\u5728\u5609\u59ae\u30fb\u51f1\u745f\u7684\u5be6\u9a57\u96fb\u5f71\u4e2d\uff0c\u9670\u5f71\u672c\u8eab\u4e5f\u6210\u70ba\u4e86\u6295\u5f71\u7684\u7a7a\u9593\uff0c\u60f3\u50cf\u4e2d\u7684\u4ed6\u8005\u4ee5\u8996\u983b\u5716\u50cf\u7684\u5f62\u5f0f\u610f\u5916\u56de\u6b78\u7684\u7a7a\u9593\u3002\u300d\u2014\u2014 \u4e39\u5c3c\u65af\u30fb\u5eab\u73c0<\/span><\/p>\n

       <\/p>\n

      \u66ab\u505c\u6642\u9593\u4e2d\u7684\u4e00\u6b21\u6642\u9593\u885d\u7a81\uff0c\u76f8\u9694\u6578\u5149\u5e74\uff0c\u7dbf\u5ef6\u6578\u5149\u5e74\u3002\u4e00\u68df\u623f\u5b50\/\u5bb6\u88ab\u4e00\u6b21\u53c8\u4e00\u6b21\u5730\u60f3\u50cf\uff0c\u4f4f\u8457\u4e00\u500b\u5f9e\u672a\u898b\u904e\u9762\u7684\u5bb6\u5ead\u3002\u4ed6\u5011\u96e2\u958b\u53c8\u8fd4\u56de\u3002\u9019\u7a2e\u60c5\u6cc1\u4e00\u76f4\u6301\u7e8c\u8457\u3002<\/span><\/p>\n

       <\/p>\n

      \u300a22 \u5149\u5e74\u300b\u501f\u9452\u4e86\u4e00\u7cfb\u5217\u8996\u89ba\u4f86\u6e90\uff0c\u5305\u62ec\u651d\u5f71\u5e95\u7247\u3001\u5716\u8868\u3001\u767c\u73fe\u7684\u5716\u6848\u7d19\u548c\u6a94\u6848\u9304\u5f71\u3002\u9019\u4e9b\u4f86\u6e90\u6709\u6642\u6703\u8207\u64cd\u4f5c\u684c\u9762\u5bb6\u5c45\u8a2d\u8a08\u8edf\u9ad4\u6642\u87a2\u5e55\u9304\u88fd\u7684\u5f71\u7247\u5408\u4f75\uff0c\u8b93\u4eba\u611f\u5230\u4e0d\u8212\u670d\u3002\u900f\u904e\u5373\u6642\u5275\u5efa\u6578\u4f4d\u5e73\u9762\u5716\u3001\u666f\u89c0\u8a2d\u8a08\u548c\u7121\u5c4b\u9802\u623f\u5c4b\uff0c\u4e26\u64cd\u7e31\u9019\u4e9b\u8996\u8a0a\u4f7f\u5176\u9032\u4e00\u6b65\u504f\u96e2\u8edf\u9ad4\u7684\u610f\u5716\uff0c\u51f1\u745f\u69cb\u5efa\u4e86\u4e00\u500b\u6578\u4f4d\u5316\u7684\u3001\u83ef\u9e97\u7684\u3001\u6a62\u5713\u5f62\u7684\u3001\u795e\u79d8\u7684\u4e16\u754c\uff0c\u5728\u9019\u500b\u4e16\u754c\u88e1\uff0c\u623f\u5c4b\u898f\u5283\u6c38\u9060\u4e0d\u6703\u7522\u751f\u6709\u5f62\u7684\u623f\u5c4b\u3002\u719f\u6089\u7684\u7269\u8cea\u5143\u7d20\uff08\u5e95\u7247\u3001\u5716\u8868\u3001\u82b1\u7c7d\u5305\uff09\u62ab\u8457\u975e\u7269\u8cea\u9818\u57df\u7684\u5916\u76ae\uff0c\u6697\u793a\u6642\u9593\u662f\u540c\u6642\u7684\u3001\u53ef\u8b8a\u7684\u3001\u672a\u77e5\u7684\u3002<\/span><\/p>\n

       <\/p>\n

      \u201cIn the experimental films of Janie Geiser, the shadow itself also becomes the space of projection, the space where the imagined other, in the form of a video image, makes its unexpected return.\u201d \u2013 Dennis Cooper<\/span><\/p>\n

      A time clash in suspended time, light-years away and light-years long. A house \/ home is imagined and re-imagined, inhabited by a family who never met. They leave and return. This goes on and on and on.<\/span><\/p>\n

      22 Light-years<\/span><\/i> draws on a range of visual sources, including photographic negatives, diagrams, found patterned papers, and archival footage. These sources merge, sometimes uncomfortably, with video that was screen-recorded while operating desktop home design software. By creating digital floor plans, landscaping, and roofless homes in real time, and manipulating those videos to move them further away from the software\u2019s intent, Geiser fabricates a digitally lush, elliptical, uncanny world, where home planning never results in a tangible home. The familiar material elements (negatives, diagrams, flower seed packets) wear the skin of the immaterial realm, suggesting time as simultaneous, mutable, and unknown.<\/span><\/p>\n

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

        \n
      1. 3. \u87a2\u5149\u5973\u5b69 Fluorescent Girl\u00a0<\/b><\/li>\n<\/ol>\n

        USA \uff5c 2018 \uff5c Video\uff5c Color \uff5c Sound \uff5c 1min 31sec<\/span><\/p>\n

         <\/p>\n

        \u87a2\u5149\u71c8\u53cd\u5c04\u5728\u66f8\u5e97\u88e1\u4e00\u672c\u651d\u5f71\u66f8\u4e2d\u7684\u4e00\u500b\u5973\u5b69\u7684\u7167\u7247\u4e0a\u3002\u5979\u8207\u5176\u4ed6\u9670\u5f71\u548c\u5149\u7dda\u7684\u5716\u50cf\u878d\u70ba\u4e00\u9ad4\uff0c\u51f8\u986f\u4e86\u5979\u7684\u77ed\u66ab\u6027\u548c\u6211\u5011\u7684\u77ed\u66ab\u6027\u3002<\/span><\/p>\n

         <\/p>\n

        \u9019\u5f35\u540d\u70ba\u300a\u88c1\u7e2b\u5b78\u5f92\u300b\uff081953\uff09\u7684\u7167\u7247\u7531 Paul Strand \u62cd\u651d\u3002<\/span><\/p>\n

         <\/p>\n

        Fluorescent light reflects on a girl\u2019s image, found in a book of photographs in a bookstore. She merges with other images of shadow and light, highlighting her ephemerality and ours.<\/span><\/p>\n

        The photograph, Tailor\u2019s Apprentice (1953), is by Paul Strand.<\/span><\/p>\n

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

          \n
        1. 4. \u5e7d\u9748\u4ee3\u6578 Ghost Algebra<\/b><\/li>\n<\/ol>\n

          USA \uff5c 2009 \uff5c 16mm to digital\uff5c Color \uff5c Sound \uff5c 7min 30sec<\/span><\/p>\n

           <\/p>\n

          \u5728\u8b8a\u5e7b\u83ab\u6e2c\u7684\u5929\u7a7a\u4e0b\uff0c\u4e00\u500b\u5b64\u7368\u7684\u8eab\u5f71\u7a7f\u8d8a\u7531\u4eba\u9020\u81ea\u7136\u548c\u788e\u9aa8\u7d44\u6210\u7684\u666f\u89c0\u3002\u00a0 \u5979\u900f\u904e\u8150\u721b\u7684\u5b54\u6d1e\u5411\u5916\u51dd\u8996\uff0c\u7b49\u5f85\u8457\uff0c\u89c0\u5bdf\u8457\uff1a\u8eab\u9ad4\u7684\u8106\u5f31\u66b4\u9732\u7121\u907a\uff1a\u77ed\u66ab\u3001\u6db2\u614b\uff0c\u662f\u7dca\u5f35\u5922\u5883\u7684\u6230\u5834\u3002<\/span><\/p>\n

          \u300a\u5e7d\u9748\u4ee3\u6578\u300b\u4f7f\u7528\u767c\u73fe\u7684\u81ea\u7136\u7269\u9ad4\u3001\u91cd\u65b0\u62cd\u651d\u7684\u5f71\u7247\u3001\u91ab\u5b78\u63d2\u5716\u548c\u5176\u4ed6\u62fc\u8cbc\u5143\u7d20\uff0c\u6697\u793a\u4e86\u300c\u4ee3\u6578\u300d\u4e00\u8a5e\u7684\u539f\u59cb\u542b\u7fa9\u4e4b\u4e00\uff1a\u6062\u5fa9\u7f3a\u5931\u90e8\u5206\u3001\u5c07\u7834\u788e\u90e8\u5206\u91cd\u65b0\u7d44\u5408\u7684\u79d1\u5b78\u3002\u00a0<\/span><\/p>\n

           <\/p>\n

          \u300c\u201c<\/span>\u2026\u2026\u4e00\u500b\u6f5b\u4f0f\u5728\u610f\u8b58\u908a\u7de3\u7684\u6545\u4e8b\u3002\u201d<\/span>\u300d<\/span><\/p>\n

          \u2014\u2014\u970d\u8389\u5a01\u5229\u65af\uff0c\u300aKCET\u300b\uff0c\u300a\u5609\u59ae\u30fb\u51f1\u745f\u7684\u5947\u5e7b\u96fb\u5f71\u300b<\/span><\/p>\n

           <\/p>\n

          \u300c <\/span>\u4e00\u90e8\u512a\u7f8e\u537b\u53c8\u9817\u5177\u6311\u6230\u6027\u7684\u96fb\u5f71\u2026\u2026\u300e\u300c\u4ee3\u6578\u300f\u300d\u9019\u500b\u8a5e\u4f3c\u4e4e\u66fe\u7d93\u8207\u4fee\u5fa9\u6216\u91cd\u9022\u6709\u95dc\u2026\u2026\u4f46\u9019\u90e8\u96fb\u5f71\u4e26\u975e\u771f\u6b63\u95dc\u4e4e\u6578\u5b78\u3002\u81f3\u5c11\u4e0d\u662f\u90a3\u7a2e\u5e38\u898b\u7684\u6578\u5b78\u3002\u5b83\u95dc\u4e4e\u62fc\u6e4a\u51fa\u4e00\u500b\u4e16\u754c\u89c0\u3002\u6c89\u6d78\u5176\u4e2d\u3002 \u300d\u2014\u2014\u963f\u840a\u6851\u5fb7\u7f85\u30fb\u897f\u746a\uff0c\u300a\u71ed\u5149\u6545\u4e8b\u300b<\/span><\/p>\n

           <\/p>\n

          Under erratic skies, a solitary figure navigates a landscape of constructed nature and broken bones.\u00a0 She peers through a decaying aperture, waiting and watching: the fragility of the body is exposed for what it is: ephemeral, liquid, a battlefield of nervous dreams.<\/span><\/p>\n

           <\/p>\n

          Using found and natural objects, rephotographed video, medical illustrations, and other collage elements, Ghost Algebra suggests one of the original meanings of the word \u201calgebra\u201d: the science of restoring what is missing, the reunion of broken parts. \u201c<\/span><\/p>\n

           <\/p>\n

          \u00a0\u201c\u2026<\/span><\/i>a story that lurks just on the edge of consciousness<\/span>.\u201d<\/span><\/i><\/p>\n

          \u2014\u2014<\/span>Holly Willis, KCET, Janie Geiser\u2019s Fantastic Films<\/span><\/i><\/p>\n

           <\/p>\n

          \u201cA beautiful but difficult film..The word \u2018\u201d algebra\u2019\u201d apparently used to have a meaning related to restoration or reunion\u2026But this film is not really about mathematics. At least not the usual kind.\u00a0 It\u2019s about piecing together a vision of the world. Immersion.\u201d <\/span>\u00a0<\/span><\/i>\u00a0<\/i><\/b>\u2014\u2014<\/span>Allesandro Cima, Candlelight Stories<\/span><\/i><\/p>\n

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

            \n
          1. <\/b>5. \u6a39\u5f71 <\/b>Arbor<\/b><\/li>\n<\/ol>\n

            USA \uff5c 2012 \uff5c 16mm to digital\uff5c Color \uff5c Sound \uff5c 7min 04sec<\/span><\/p>\n

             <\/p>\n

            \u900f\u904e\u4e00\u7d44\u5728\u820a\u8ca8\u5e97\u88e1\u627e\u5230\u7684\u7167\u7247\uff0c\u51f1\u745f\u5728\u8868\u8c61\u8207\u62bd\u8c61\u3001\u4eba\u7269\u8207\u98a8\u666f\u3001\u865b\u69cb\u8207\u8a18\u61b6\u4e4b\u9593\u5275\u9020\u4e86\u4e00\u500b\u95be\u9650\u7a7a\u9593\u3002\u00a0 \u300a\u6a39\u5f71\u300b\u900f\u904e\u5c0d\u7167\u7247\u9032\u884c\u5fae\u5999\u7684\u8655\u7406\u4f86\u6697\u793a\u8a18\u61b6\u53ca\u5176\u7522\u7269\u7684\u8106\u5f31\u6027\u548c\u77ed\u66ab\u6027\uff1a\u91cd\u65b0\u69cb\u5716\u3001\u5206\u5c64\u3001\u53cd\u8f49\u4ee5\u53ca\u5f15\u5165\u82b1\u6735\u548c\u6a39\u8449\u7b49\u7acb\u9ad4\u5143\u7d20\u3002\u7167\u7247\u4e2d\u7684\u4eba\u7269\u5f88\u5c11\u9762\u5c0d\u93e1\u982d\uff1b\u5b83\u5011\u662f\u77a5\u898b\u7684\uff0c\u800c\u4e0d\u662f\u88ab\u770b\u898b\u7684\u3002\u4ed6\u5011\u5c07\u76ee\u5149\u8f49\u5411\u5225\u8655\uff0c\u7b49\u5f85\u8457\u67d0\u4e9b\u4e0d\u53ef\u907f\u514d\u7684\u4e8b\u60c5\u767c\u751f\u3002\u00a0 \u805a\u96c6\u5728\u5c71\u5761\u4e0a\uff0c\u8eba\u5728\u73fe\u5df2\u6d88\u5931\u7684\u6a39\u6728\u4e4b\u5916\u7684\u8349\u5730\u4e0a\uff0c\u300a\u6a39\u5f71\u300b \u7684\u5c45\u6c11\u5011\u5ea6\u904e\u4ed6\u5011\u4e00\u500b\u96e3\u4ee5\u6349\u6478\u7684\u4e0b\u5348\uff0c\u9010\u6f38\u5c48\u670d\u65bc\u6642\u9593\u6216\u878d\u5165\u98a8\u666f\uff0c\u70ba\u81ea\u5df1\u4fdd\u7559\u6211\u5011\u6240\u4e0d\u77e5\u9053\u7684\u6771\u897f\u2014\u2014\u4e26\u6210\u70ba\u4ed6\u5011\u81ea\u5df1\u6545\u4e8b\u4e2d\u7684\u5f71\u5b50\u3002<\/span><\/p>\n


            \n<\/span>\u5609\u59ae\u30fb\u51f1\u745f \u7684\u300a\u6a39\u5f71\u300b\u7531\u4e00\u7d44\u73fe\u6210\u7684\u7167\u7247\u7d44\u6210……\u71df\u9020\u51fa\u4e00\u7a2e\u5e7d\u9748\u822c\u7684\u5e7b\u5f71\u611f\u3002\u5979\u5c07\u7537\u5973\u2014\u2014\u51f1\u745f\u4e0d\u8a8d\u8b58\u7684\u4eba\u2014\u2014\u7684\u5f71\u50cf\u758a\u52a0\uff0c\u758a\u52a0\u5230\u4ed6\u5011\u8eba\u5728\u5bec\u95ca\u8349\u576a\u4e0a\u6642\uff0c\u900f\u904e\u5404\u7a2e\u93e1\u982d\u548c\u900f\u660e\u7d19\u5f35\u626d\u66f2\u4ed6\u5011\uff0c\u6700\u7d42\u62b9\u53bb\u4ed6\u5011\u7684\u8eab\u5f71\uff0c\u7528\u5468\u570d\u7684\u8349\u53e2\u53d6\u800c\u4ee3\u4e4b\u3002\u4ed6\u5011\u8eab\u9ad4\u7684\u75d5\u8de1\u4e0d\u5fa9\u5b58\u5728\u3002\u9019\u7a2e\u56de\u6b78\u81ea\u7136\u7684\u6c1b\u570d\uff0c\u4e5f\u7e08\u7e5e\u5728\u96fb\u5f71\u548c\u651d\u5f71\u5a92\u4ecb\u4e2d\u3002\u6b63\u5982\u300a\u6a39\u5f71\u300b\u4ee4\u4eba\u96e3\u4ee5\u5fd8\u61f7\u5730\u5c55\u73fe\u7684\u90a3\u6a23\uff0c\u5169\u8005\u90fd\u8655\u65bc\u4e00\u7a2e\u9670\u5f71\u72c0\u614b\uff0c\u6b63\u5982\u7f85\u862d\u00b7\u5df4\u7279\u6240\u8a00\uff0c\u76f8\u6a5f\u8a18\u9304\u4e0b\u7684\u5b58\u5728\uff0c\u5728\u88ab\u89c0\u770b\u6642\uff0c\u5fc5\u7136\u6703\u6d88\u5931\u6b86\u76e1\u3002 \u2014\u2014\u5409\u7d0d\u7dad\u8299\u30fb\u5cb3\uff0c\u300a\u53cd\u5411\u93e1\u982d\u300b<\/span><\/p>\n

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

            From a set of photographs found in a thrift store, Geiser creates a liminal space between representation and abstraction, figure and landscape, fiction and memory.\u00a0 ARBOR suggests the fragility and ephemerality of memory and its artifacts through subtle manipulations of the photographs: reframings, layerings, inversions, and the introduction of dimensional elements, including flowers and leaves. The photographs\u2019 subjects rarely engage the camera; they are glimpsed, rather than seen. They look elsewhere, and wait for something inevitable.\u00a0 Gathering on a hillside, lounging on the grass beyond now-lost trees, the inhabitants of ARBOR cycle through their one elusive afternoon, gradually succumbing to time or dissolving into landscape, reserving for themselves what we can\u2019t know\u2014and becoming shadows in their own stories.<\/span><\/p>\n

             <\/p>\n

            \u201cJanie Geiser\u2019s ARBOR (2012), made from a set of found photographs\u2026 produces a sense of ghostly apparition. She doubles the images of men and women, people unknown to Geiser, over themselves as they recline on a broad lawn, distorts them through various lenses and sheets of transparent paper, and finally erases their figures and replaces them with the grass around them. No traces of their bodies remain. This return to nature, so to speak, also haunts the media of film and photography. As ARBOR hauntingly illustrates, both share a shadowy condition in which, as Roland Barthes has argued, the presences recorded by a camera are, by the time of their viewing, inevitably gone.\u201d <\/span>\u00a0<\/i><\/b>\u2014\u2014<\/span>Genevieve Yue REVERSE SHOT<\/span><\/i><\/p>\n

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

              \n
            1. 6. \u5929\u7a7a\u4e4b\u82b1 <\/b>Flowers of the Sky<\/b><\/li>\n<\/ol>\n

              USA \uff5c 2016 \uff5c Video\uff5c Color \uff5c Sound \uff5c<\/span> 9min 15sec<\/span><\/p>\n

               <\/p>\n

              \u300a\u5929\u7a7a\u4e4b\u82b1\u300b\uff08\u5f57\u661f\u7684\u4e2d\u4e16\u7d00\u8853\u8a9e\uff09\u53d6\u6750\u81ea\u6d1b\u6749\u78ef\u4e00\u5bb6\u820a\u8ca8\u5e97\u767c\u73fe\u7684\u5169\u5f35\u5168\u666f\u7167\u7247\uff0c\u63cf\u7e6a\u4e86\u5171\u6fdf\u6703\u6771\u65b9\u4e4b\u661f\u6210\u54e1\u7684\u805a\u6703\u3002\u7b2c\u4e00\u5f35\u7167\u7247\u62cd\u651d\u65bc\u4e00\u5834\u5bb4\u6703\uff0c\u53c3\u8207\u8005\u5750\u5728\u684c\u65c1\uff0c\u9762\u5c0d\u93e1\u982d\u3002\u7b2c\u4e8c\u5f35\u7167\u7247\u4e2d\uff0c\u6bcf\u500b\u4eba\u90fd\u7a7f\u8457\u5100\u5f0f\u9577\u888d\uff0c\u76ee\u5149\u5f9e\u93e1\u982d\u79fb\u958b\uff0c\u671b\u5411\u821e\u53f0\u3002\u821e\u53f0\u4e2d\u592e\u7ad9\u8457\u4e00\u500b\u4eba\u5f71\uff0c\u6b63\u5c0d\u8457\u4ed6\u5011\u3002\u6bcf\u500b\u4eba\u90fd\u61f8\u5728\u7a7a\u4e2d\uff0c\u6eff\u61f7\u671f\u5f85\u3002<\/span><\/p>\n

               <\/p>\n

              \u300a\u5929\u7a7a\u4e4b\u82b1\u300b\u900f\u904e\u5206\u96e2\u7167\u7247\u7684\u5404\u500b\u90e8\u5206\uff0c\u4e26\u7a81\u51fa\u6771\u65b9\u4e4b\u661f\u6210\u54e1\u7684\u4e0d\u540c\u7d44\u5408\uff0c\u63ed\u793a\u4e26\u6a21\u7cca\u4e86\u539f\u59cb\u4e8b\u4ef6\u3002\u7167\u7247\u4e2d\u50b3\u9054\u51fa\u4e00\u7a2e\u89c0\u671b\u548c\u7b49\u5f85\u67d0\u7a2e\u8d85\u8d8a\u65e5\u5e38\u751f\u6d3b\u9ad4\u9a57\u7684\u4e8b\u7269\u767c\u751f\u7684\u611f\u89ba\u3002\u800c\u67d0\u7a2e\u4e8b\u7269\u78ba\u5be6\u767c\u751f\u4e86\u3002\u5927\u81ea\u7136\u91cd\u65b0\u5c55\u73fe\u4e86\u81ea\u8eab\uff0c\u4eba\u7269\u5f62\u8c61\u91cd\u5408\u3001\u986b\u52d5\u3001\u5347\u8d77\uff0c\u8a66\u5716\u9003\u96e2\u4ed6\u5011\u76f8\u4e92\u4f9d\u5b58\u7684\u751f\u6d3b\uff0c\u6697\u793a\u8457\u4e00\u7a2e\u8d85\u8d8a\u5370\u5237\u4e16\u754c\u7684\u72c2\u559c\u3002<\/span><\/p>\n

               <\/p>\n

              \u300c\u5728\u300a\u5929\u7a7a\u4e4b\u82b1\u300b\u4e2d\uff0c\u5609\u59ae\u30fb\u51f1\u745f\u512a\u96c5\u5730\u5c07\u5169\u5f35\u820a\u7167\u7247\u9032\u884c\u758a\u52a0\u548c\u906e\u7f69\u8655\u7406\uff0c\u4ee5\u6b64\u985b\u8986\u4e26\u91cd\u585120\u4e16\u7d00\u521d\u7684\u6b77\u53f2\u3002\u300d\u2014\u2014\u5b89\u5fb7\u91cc\u4e9e\u30fb\u76ae\u5361\u5fb7\uff0c\u591a\u502b\u591a\u570b\u969b\u96fb\u5f71\u7bc0<\/span><\/p>\n

               <\/p>\n

              \u300c\u51f1\u745f<\/span>\u662f\u4e00\u4f4d\u6975\u7c21\u4e3b\u7fa9\u5927\u5e2b\u2026\u2026\u5979\u5c07\u904e\u6642\u7684\u5716\u50cf\u548c\u7167\u7247\u3001\u795e\u79d8\u7684\u7269\u54c1\u4ee5\u53ca\u88ab\u907a\u5fd8\u7684\u6d41\u884c\u6587\u5316\u91cd\u65b0\u8a9e\u5883\u5316\uff0c\u5c07\u6211\u5011\u5e36\u5165\u4e00\u7a2e\u611f\u5b98\u7684\u7d0b\u7406\u6697\u6d41\u2014\u2014\u4e00\u500b\u66ab\u505c\u6642\u9593\u7684\u4f11\u606f\u5ba4\u3002 \u300d\u2014\u2014\u53f2\u8482\u592b\u30fb\u5b89\u514b\uff0cREDCAT<\/span><\/p>\n

               <\/p>\n

              FLOWERS OF THE SKY (a medieval term for comets) draws on two panoramic photographs, found in a Los Angeles thrift shop, that depict a gathering of members of the Eastern Star, a Masonic order.\u00a0 In the first photograph, taken at a banquet meal, the participants are seated at tables and facing the camera.\u00a0 In the second photograph, everyone is dressed in ritual robes, looking away from the camera and toward a stage. A single figure stands there, centered on this platform, and faces them. Everyone is suspended, expectant.<\/span><\/p>\n

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

              Through isolating parts of the photographs and highlighting the different groupings of the Eastern Star members, FLOWERS OF THE SKY reveals and obscures the original events.\u00a0 There is a sense, in the photographs, of watching and waiting for something to happen, something beyond the experience of daily life. And something does. Nature reasserts herself, the figures double, vibrate, and rise, trying to escape their emulsive lives, suggesting a rapture that extends beyond their printed world.<\/span><\/p>\n

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

              \u201c<\/span><\/i>In FLOWERS OF THE SKY, Janie Geiser elegantly submits two thrifted photographs to superimpositions and masking techniques in order to trouble and recast histories of the early 20th century.<\/span>\u201d <\/span><\/i>\u2014\u2014<\/span>Andrea Picard, TIFF<\/span><\/i><\/p>\n

               <\/p>\n

              \u201cGeiser is a master of minimal means\u2026she recontextualizes outmoded images and photographs, arcane objects, and forgotten popular culture, releasing us into a sensual undercurrent of textures—the anteroom of suspended time<\/span>.\u201d <\/span><\/i>\u2014\u2014<\/span>Steve Anker, Redcat<\/span><\/i><\/p>\n

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

                \n
              1. 7. \u53cd\u5411\u9670\u5f71 REVERSE SHADOW<\/b><\/li>\n<\/ol>\n

                USA \uff5c 2019 \uff5c Video\uff5c Color \uff5c Sound \uff5c 8min\u00a0<\/span><\/p>\n

                 <\/p>\n

                \u6cb3\u6d41\u67d3\u7d05\uff0c\u98db\u6a5f\u76e4\u65cb\u5728\u6c34\u9762\u4e0a\uff0c\u8239\u96bb\u5728\u9ed1\u6697\u4e2d\u822a\u884c\uff0c\u9ad8\u6a13\u8073\u7acb\u6416\u6416\u6b32\u589c\u3002\u7576\u7375\u4eba\u5011\u6e96\u5099\u5c04\u64ca\u6642\uff0c\u707d\u96e3\u4f3c\u4e4e\u8feb\u5728\u7709\u776b\u3002\u5c4d\u9ad4\u6210\u4e86\u8edf\u9776\u5b50\u3002<\/span><\/p>\n

                 <\/p>\n

                \u300c\u6211\u53cd\u8986\u5922\u5230\u81ea\u5df1\u5728\u6a39\u6797\u88e1\u884c\u8d70\uff0c\u4e00\u500b\u7375\u4eba\u628a\u6211\u8aa4\u8a8d\u70ba\u662f\u4e00\u96bb\u9ce5\u3002\u6211\u80fd\u807d\u5230\u5b83\u5728\u68ee\u6797\u88e1\u7a7f\u68ad\u7684\u8072\u97f3\u3002\u6211\u7e3d\u662f\u5728\u69cd\u97ff\u524d\u9192\u4f86\uff0c\u4f46\u90a3\u7a2e\u6050\u61fc\u611f\u6703\u6574\u5929\u7e08\u7e5e\u5728\u6211\u7684\u5fc3\u982d\u3002\u6700\u8fd1\uff0c\u5373\u4f7f\u6c92\u6709\u505a\u9019\u500b\u5922\uff0c\u90a3\u7a2e\u6050\u61fc\u611f\u4f9d\u7136\u5b58\u5728\u3002\u300d\u2014\u2014\u51f1\u745f<\/span><\/p>\n

                 <\/p>\n

                \u300a\u53cd\u5411\u9670\u5f71\u300b\u7684\u5275\u4f5c\u7d20\u6750\u7bc4\u570d\u5341\u5206\u5ee3\u6cdb\uff0c\u5f9e\u5152\u7ae5\u5c04\u64ca\u7df4\u7fd2\u904a\u6232\u5230\u4e8c\u6230\u6230\u6a5f\u624b\u518a\u3001\u91ab\u5b78\u66f8\u7c4d\u3001\u5168\u666f\u7167\u7247\uff0c\u4ee5\u53ca\u5f9e\u98db\u6a5f\u5ea7\u4f4d\u4e0a\u62cd\u651d\u7684 iPhone \u5f71\u7247\u3002\u8072\u97f3\u62fc\u8cbc\u5305\u62ec\u51b7\u6230\u77ed\u6ce2\u300c\u6578\u4f4d\u96fb\u53f0\u300d\u7684\u9304\u97f3\u4ee5\u53ca\u611b\u8fea\u751f\u9304\u88fd\u7684\u745e\u666e\u30fb\u51e1\u30fb\u6eab\u514b\u723e\u6545\u4e8b\u7b49\u4f86\u6e90\u3002\u6c89\u6d78\u5728\u4e00\u7a2e\u61f8\u800c\u672a\u6c7a\u7684\u6182\u616e\u6c1b\u570d\u4e2d\uff0c\u6211\u5011\u611f\u89ba\u5230\u707d\u96e3\u6b63\u5728\u7b49\u5f85\u8457\uff0c\u7b49\u5f85\u8457\u767c\u751f\u3002<\/span><\/p>\n

                 <\/p>\n

                \u300c\u5609\u59ae\u30fb\u51f1\u745f\u5ee3\u53d7\u597d\u8a55\u7684\u62fc\u8cbc\u96fb\u5f71\u6df1\u5165\u63a2\u7a76\u4e86\u6e05\u9192\u5922\u5883\u7684\u9818\u57df\uff0c\u5c07\u8072\u97f3\u7247\u6bb5\u548c\u52d5\u614b\u5716\u50cf\u7de8\u7e54\u6210\u908f\u8f2f\u548c\u8a18\u61b6\u908a\u7de3\u7684\u795e\u79d8\u3001\u7701\u7565\u7684\u6558\u4e8b\u3002\u2014\u2014\u53f2\u8482\u592b\u30fb\u5b89\u514b\uff0cREDCAT<\/span><\/p>\n

                 <\/p>\n

                Rivers run red, planes hover above water, ships travel in darkness, and towers loom and topple. Disaster seems imminent as the hunters prepare to shoot. The body is a soft target.<\/span><\/p>\n

                 <\/p>\n

                \u201cI had a recurring dream that I was walking in the woods and a hunter mistook me for a bird. I could hear him moving through the forest. I always woke up before the gun was fired, but that feeling of apprehension would stay with me throughout the day.\u00a0 Lately, even without dreaming this dream, that apprehension is present.\u201d—Geiser<\/span><\/i><\/p>\n

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

                REVERSE SHADOW draws on a range of sources, from a child\u2019s target practice game to brochures of WW2 warplanes, medical books, panoramic photographs, and iPhone videos shot from an airplane seat. The sound collage includes, among other sources, recordings of Cold War shortwave \u201cnumbers stations\u201d and an Edison recording of the Rip Van Winkle story. Immersed in an atmosphere of suspended apprehension, we sense disaster is waiting, waiting to happen.<\/span><\/p>\n

                 <\/p>\n

                \u201c<\/span><\/i>Janie Geiser\u2019s acclaimed collage films delve deeply into the realm of waking dreams, weaving fragments of sounds and moving images into mysterious, elliptical narratives at the edge of logic and memory. \u2014\u2014<\/span>Steve Anker, Redcat\u00a0<\/span><\/i><\/p>\n

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

                  \n
                1. 8. \u4e16\u754c\u7684\u5730\u677f The Floor of the World<\/b><\/li>\n<\/ol>\n

                  USA \uff5c 2010 \uff5c 16mm to digital\uff5c Color \uff5c Sound \uff5c 9min\u00a0<\/span><\/p>\n

                   <\/p>\n

                  \u5728\u6ce5\u571f\u548c\u5929\u7a7a\u4e0d\u65b7\u8b8a\u5316\u7684\u666f\u89c0\u4e2d\uff0c\u6316\u6398\u548c\u65bd\u5de5\u878d\u70ba\u4e00\u9ad4\u3002\u4eba\u7269\u5728\u751f\u8207\u6b7b\u4e4b\u9593\u4f86\u56de\u79fb\u52d5\uff0c\u4e5f\u53ef\u80fd\u79fb\u52d5\u81f3\u5176\u4ed6\u5730\u65b9\u3002\u5b58\u5728\u662f\u5426\u77ed\u66ab\uff0c\u662f\u9019\u500b\u4ee5\u6578\u5b57\u70ba\u6307\u5f15\u65b9\u5411\u7684\u4e16\u754c\u4e2d\u4e00\u500b\u5e73\u51e1\u7684\u554f\u984c\u3002\u4e16\u754c\u7684\u5e95\u90e8\u539f\u4f86\u662f\u5bb9\u6613\u88ab\u523a\u7a7f\u7684\u3001\u6db2\u614b\u7684\u3001\u53ef\u6ef2\u900f\u7684\u3002<\/span><\/p>\n

                   <\/p>\n

                  \u300c\u5730\u7403\u88c2\u958b\uff0c\u53c8\u541e\u566c\u6389\u5b83\u6240\u6709\u7684\u79d8\u5bc6\u3002\u300d<\/span><\/p>\n

                  \u2014\u2014\u5409\u7d0d\u7dad\u8299\u30fb\u5cb3\uff0c\u300a\u8996\u5dee\u8996\u89d2\uff1a\u5609\u59ae\u30fb\u51f1\u745f\u8fd1\u671f\u96fb\u5f71\u8a55\u8ad6\u300b<\/span><\/p>\n

                   <\/p>\n

                  In a shifting landscape of dirt and sky, excavation and construction merge. Figures move back and forth between life and death, and possibly somewhere else. The ephemerality of existence is a mundane question in this world, where numbers mark the way. The floor of the world turns out to be easily pierced, liquid, permeable.<\/span><\/p>\n

                   <\/p>\n

                  \u201cThe earth opens up, then swallows back up, its many secrets.\u201d<\/span><\/i><\/p>\n

                  \u00a0<\/span><\/i>\u2014\u2014<\/span>Genevieve Yue, The Parallax View: On the Recent Films of Janie Geiser\u201d<\/span><\/i><\/p>\n

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

                  Total Runtime:\u00a0 64 minutes<\/span><\/p>\n

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

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

                  \"\"<\/p>\n

                  \u5609\u59ae\u30fb\u51f1\u745f Janie Geiser<\/strong><\/p>\n

                   <\/p>\n

                  \u5609\u59ae\u30fb\u51f1\u745f\u00a0<\/strong>\u662f\u4e00\u4f4d\u591a\u5b78\u79d1\u85dd\u8853\u5bb6\uff0c\u5176\u5be6\u8e10\u6db5\u84cb\u8868\u6f14\u3001\u96fb\u5f71\u3001\u88dd\u7f6e\u548c\u85dd\u8853\u3002 \u51f1\u745f\u7684\u4f5c\u54c1\u4ee5\u5c0d\u5ee2\u68c4\u5716\u50cf\u548c\u7269\u9ad4\u7684\u91cd\u65b0\u8108\u7d61\u5316\u3001\u5c0d\u4eba\u9020\u7269\u7684\u64c1\u62b1\u4ee5\u53ca\u5c0d\u8a18\u61b6\u3001\u529b\u91cf\u548c\u5931\u843d\u7684\u63a2\u7d22\u800c\u805e\u540d\u3002\u51f1\u745f\u662f\u53e4\u6839\u6f22\u7814\u7a76\u54e1\u30012016 \u5e74\u591a\u9e97\u7d72\u675c\u514b\u85dd\u8853\u5bb6\u734e\u5f97\u4e3b\u548c\u5275\u610f\u8cc7\u672c\u734e\u5f97\u4e3b\u3002\u51f1\u745f\u7372\u5f97\u4e86 2023 \u5e74\u65af\u5766\u5e03\u62c9\u54c8\u683c\u8996\u89ba\u734e\uff0c\u8a72\u734e\u9805\u9812\u767c\u7d66\u300c\u5176\u4f5c\u54c1\u7a81\u7834\u4e86\u524d\u885b\u548c\u5be6\u9a57\u96fb\u5f71\u88fd\u4f5c\u6975\u9650\u300d\u7684\u96fb\u5f71\u88fd\u4f5c\u4eba\u3002\u4ed6\u6700\u8fd1\u7372\u5f97\u4e86 2025-2026 \u5e74\u5361\u666e\u8482\u74e6\u5cf6\u52de\u68ee\u4f2f\u683c\u99d0\u7559\u8a08\u756b\u3002<\/span><\/p>\n

                  \u300c\u51f1\u745f\u8868\u9054\u4e86\u6f5b\u610f\u8b58\u7684\u8072\u97f3\uff0c\u6307\u51fa\u4e86\u5728\u793e\u6703\u548c\u8a9e\u8a00\u898f\u5247\u4e4b\u524d\u5b58\u5728\u7684\u88ab\u907a\u68c4\u7684\u8f1d\u714c\u3002\u300d(\u2014Holly Willis\uff0cRes\uff0c2004 \u5e74)\u3002<\/span><\/p>\n

                   <\/p>\n

                  \u51f1\u745f\u7684\u96fb\u5f71\u66fe\u5728\u7f8e\u570b\u570b\u5bb6\u7f8e\u8853\u9928\u3001\u986f\u5fae\u93e1\u756b\u5eca\u3001\u60e0\u7279\u5c3c\u535a\u7269\u9928\u3001\u53e4\u6839\u6f22\u7f8e\u8853\u9928\u3001\u73fe\u4ee3\u85dd\u8853\u535a\u7269\u9928\u3001\u592a\u5e73\u6d0b\u96fb\u5f71\u8cc7\u6599\u9928\u3001\u84ec\u76ae\u675c\u85dd\u8853\u4e2d\u5fc3\u3001\u85a9\u723e\u8332\u5821\u535a\u7269\u9928\u3001\u820a\u91d1\u5c71\u73fe\u4ee3\u85dd\u8853\u535a\u7269\u9928\u3001\u6d1b\u6749\u78ef\u90e1\u7acb\u85dd\u8853\u535a\u7269\u9928\u3001\u6c99\u8fe6\u96d9\u5e74\u5c55\u3001\u7d10\u7d04\u96fb\u5f71\u7bc0\u3001\u9e7f\u7279\u4e39\u570b\u969b\u96fb\u5f71\u7bc0\u3001\u591a\u502b\u591a\u570b\u969b\u96fb\u5f71\u7bc0\u3001\u502b\u6566\u570b\u969b\u96fb\u5f71\u7bc0\u3001\u5967\u4f2f\u8c6a\u68ee\u96fb\u5f71\u7bc0\u653e\u6620\u3002<\/span><\/p>\n

                   <\/p>\n

                  \u51f1\u745f\u7684\u96fb\u5f71\u88ab\u6536\u85cf\u65bc\u73fe\u4ee3\u85dd\u8853\u535a\u7269\u9928\u3001\u7d10\u7d04\u516c\u5171\u5716\u66f8\u9928\u7684 Donnell \u5a92\u9ad4\u4e2d\u5fc3\u3001\u52a0\u5dde\u85dd\u8853\u5b78\u9662\u548c\u67cf\u514b\u840a\u85dd\u8853\u535a\u7269\u9928\u592a\u5e73\u6d0b\u96fb\u5f71\u8cc7\u6599\u9928\u3002\u4ed6\u7684\u96fb\u5f71\u300a\u7d05\u8272\u7684\u66f8\u300b\u88ab\u6536\u9304\u65bc\u570b\u6703\u5716\u66f8\u9928\u570b\u5bb6\u96fb\u5f71\u767b\u8a18\u8655\u3002\u7f8e\u570b\u96fb\u5f71\u5b78\u9662\u6a94\u6848\u9928\u5df2\u5c07\u4ed6\u7684\u4f5c\u54c1\u5217\u5165\u4fdd\u5b58\u540d\u55ae\uff0c\u300a\u7570\u5ea6\u89c0\u770b<\/span><\/p>\n

                  \u300b\uff082000 \u5e74\uff09\u88ab\u300a\u96fb\u5f71\u8a55\u8ad6\u300b\u8a55\u9078\u70ba\u904e\u53bb\u5341\u5e74\u5341\u5927\u5be6\u9a57\u96fb\u5f71\u4e4b\u4e00\u3002<\/span><\/p>\n

                   <\/p>\n

                  \u4f5c\u70ba\u7f8e\u570b\u5148\u92d2\u6d3e\u6728\u5076\u5287\u5fa9\u8208\u7684\u5148\u9a45\u4e4b\u4e00\uff0c\u51f1\u745f\u5275\u9020\u4e86\u5275\u65b0\u3001\u50ac\u7720\u822c\u7684\u8868\u6f14\u548c\u88dd\u7f6e\uff0c\u5c07\u8868\u6f14\u7269\u4ef6\u3001\u6728\u5076\u548c\u6295\u5f71\u878d\u70ba\u4e00\u9ad4\u3002\u4ed6\u7684\u4f5c\u54c1\u66fe\u5728\u516c\u5171\u5287\u9662\u3001\u6587\u5fb7\u535a\u7269\u9928\u3001\u8056\u5b89\u5009\u5eab\u3001Redcat\u3001\u6c83\u514b\u85dd\u8853\u4e2d\u5fc3\u548c\u84cb\u8482\u5225\u5885\u5c55\u51fa\u3002 \u51f1\u745f\u7684\u8868\u6f14\u7372\u5f97\u4e86 OBIE \u734e\u3001Bessie \u734e\uff0c\u4ee5\u53ca\u6d1b\u514b\u83f2\u52d2\u57fa\u91d1\u6703\u3001\u570b\u5bb6\u85dd\u8853\u57fa\u91d1\u6703\u3001\u6587\u5316\u5275\u65b0\u4e2d\u5fc3\u3001MapFund\u3001\u52a0\u5dde\u793e\u5340\u57fa\u91d1\u6703\u8996\u89ba\u85dd\u8853\u5bb6\u734e\u5b78\u91d1\u3001\u6d1b\u6749\u78ef\u5e02\u85dd\u8853\u5bb6\u734e\u5b78\u91d1\u548c\u84cb\u8482\u5225\u5885\u5287\u9662\u5be6\u9a57\u5ba4\u59d4\u54e1\u6703\u7684\u8cc7\u52a9\u3002<\/span><\/p>\n

                   <\/p>\n

                  \u51f1\u745f\u65bc Five Myles \u756b\u5eca\u8209\u8fa6\u4ed6\u7684 2025 \u5e74\u5c55\u89bd\uff0c2018 \u5e74\u5728 Track 16 \u756b\u5eca\u8209\u8fa6\u5c55\u89bd\u4ee5\u53ca 2014 \u5e74\u5728\u6d1b\u6749\u78ef <\/span>China Art Objects <\/span>\u5c55\u51fa\u4e86\u55ae\u983b\u9053\u548c\u591a\u983b\u9053\u5f71\u7247\u548c\u7167\u7247\u3002\u51f1\u745f\u66fe\u5728\u9ea5\u514b\u9053\u5a01\u723e\u85dd\u8853\u4e2d\u5fc3\u3001\u6f22\u6bd4\u5947\u4e2d\u5fc3\u3001\u5927\u897f\u6d0b\u85dd\u8853\u4e2d\u5fc3\u548c\u8499\u5854\u723e\u6c83\u85dd\u8853\u4e2d\u5fc3\u64d4\u4efb\u99d0\u6751\u85dd\u8853\u5bb6\u3002\u00a0 \u4ed6\u7684\u8457\u4f5c\u300a\u9f8d\u6372\u98a8\u689d\u7d04\u300b\u88ab\u6536\u9304\u65bc\u73fe\u4ee3\u85dd\u8853\u535a\u7269\u9928\u7684\u85dd\u8853\u5bb6\u66f8\u7c4d\u6536\u85cf\u4e2d\u3002\u51f1\u745f\u73fe\u5c45\u6d1b\u6749\u78ef\uff0c\u662f\u52a0\u5dde\u85dd\u8853\u5b78\u9662\u6232\u5287\u5b78\u9662\u7684\u6559\u5e2b\u3002\u4ed6\u662f Automata \u7684\u806f\u5408\u5275\u59cb\u4eba\u517c\u806f\u5408\u7e3d\u76e3\uff0c\u9019\u662f\u4e00\u500b\u7531\u85dd\u8853\u5bb6\u7d93\u71df\u7684\u975e\u71df\u5229\u8868\u6f14\u756b\u5eca\u3002<\/span><\/p>\n

                   <\/p>\n

                  Janie Geiser is a multidisciplinary artist whose practice includes performance, film, installation, and art. Geiser\u2019s work is known for its recontextualization of abandoned images and objects, its embrace of artifice, and its investigation of memory, power, and loss. Geiser is a Guggenheim Fellow, a 2016 Doris Duke Artist Award recipient, and a Creative Capital awardee. Geiser received the 2023 Stan Brakhage Vision Award, presented to a filmmaker \u201cwhose work pushes the limits in avant-garde and experimental filmmaking.\u201d She was recently awarded a 2025-26 Rauschenberg Residency on Captiva Island. \u201cGeiser gives voice to the reaches of the unconscious, pointing to the abandoned splendor that exists prior to the rules of society and language.\u201d (\u2014Holly Willis, Res, 2004).<\/span><\/p>\n

                   <\/p>\n

                  Geiser\u2019s films have been screened at the National Gallery of Art, Microscope Gallery, the Whitney Museum, the Guggenheim Museum, MOMA, Pacific Film Archives, the Centre Pompidou, the Salzburg Museum, San Francisco MOMA, LACMA, the Sharjah Biennial, and NY Film Festival, Rotterdam International Film Festival, Toronto International Film Festival, London International Film Festival, Oberhausen Film Festival, Curtas Vila do Conde, and Hong Kong International Film Festival.<\/span><\/p>\n

                   <\/p>\n

                  Geiser\u2019s films are in the collections of MOMA, The NY Public Library\u2019s Donnell Media Center, CalArts, and the Berkeley Art Museum Pacific Film Archive. Her film The Red Book is part of the National Film Registry of the Library of Congress. The Academy of Motion Pictures Archive has selected her work for preservation, and The Fourth Watch (2000) was selected by Film Comment as one of the top ten experimental films of the past decade.<\/span><\/p>\n

                   <\/p>\n

                  One of the pioneers of the renaissance of American avant-garde puppet theater, Geiser creates innovative, hypnotic performances and installations that integrate performing objects, puppets, and projection. Her work has been presented at The Public Theater, the Wende Museum, St. Ann\u2019s Warehouse, Redcat, The Walker Art Center, and The Getty Villa.\u00a0 Geiser\u2019s performances have been recognized with an OBIE Award, a Bessie, and funding from the Rockefeller Foundation, NEA, Center for Cultural Innovation, MapFund, the California Community Foundation Fellowship for Visual Artists, a City of Los Angeles Artist Fellowship, and a Getty Villa Theater Lab commission.<\/span><\/p>\n

                   <\/p>\n

                  Geiser\u2019s 2025 exhibit at Five Myles Gallery, her 2018 exhibit at\u00a0 Track 16 Gallery, and 2014 exhibit at China Art Objects in Los Angeles, featured single and multiple channel videos and photographs. Geiser has received residencies at MacDowell, the Hambidge Center, the Atlantic Center for the Arts, and Montalvo. Her book The Tornado Treaty is in MOMA\u2019s Artists Book Collection. Geiser lives in Los Angeles, and is on the faculty of CalArts School of Theater. She is a Co-Founder and Co-Director of Automata, an artist-run nonprofit performance gallery.<\/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 \u805a\u7126\u5f71\u4eba\uff1a\u4e16\u754c\u7684\u5730\u677f \uff0d \u5609\u59ae\u30fb\u51f1\u745f 8 \u90e8\u7cbe\u9078\u96fb\u5f71 Film […]<\/p>\n","protected":false},"author":4,"featured_media":13563,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[210,219,20,7,39,17],"tags":[],"class_list":["post-13562","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\/13562","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=13562"}],"version-history":[{"count":4,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/posts\/13562\/revisions"}],"predecessor-version":[{"id":13575,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/posts\/13562\/revisions\/13575"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/media\/13563"}],"wp:attachment":[{"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13562"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=13562"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=13562"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}