{"id":13588,"date":"2025-11-22T19:25:21","date_gmt":"2025-11-22T11:25:21","guid":{"rendered":"https:\/\/www.glt.org.tw\/?p=13588"},"modified":"2025-11-22T19:25:21","modified_gmt":"2025-11-22T11:25:21","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%be%8e%e6%ad%90%e5%af%a6%e9%a9%97%e5%8b%95-2","status":"publish","type":"post","link":"https:\/\/www.glt.org.tw\/?p=13588","title":{"rendered":"EX!T 15 \u7b2c\u5341\u4e94\u5c46\u53f0\u7063\u570b\u969b\u5be6\u9a57\u5a92\u9ad4\u85dd\u8853\u5c55\uff0d\u7f8e\u6b50\u5be6\u9a57\u52d5\u756b\u7d93\u5178\uff08\u8cb3\uff09\uff1a\u91cb\u653e\u904e\u7a0b\uff0d\u77ed\u7247\u9078\u96c6 American and European Experimental Animation (ii): Freeing Process"},"content":{"rendered":"

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

\u7f8e\u6b50\u5be6\u9a57\u52d5\u756b\u7d93\u5178\uff08\u8cb3\uff09\uff1a\u91cb\u653e\u904e\u7a0b\uff0d\u77ed\u7247\u9078\u96c6 American and European Experimental Animation (ii): Freeing Process<\/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_15<\/p>\n

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

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

\u7247\u9577\uff1a68\u5206\u9418<\/p>\n

\u767c\u97f3\uff1a\u82f1\u8a9e\ufe51\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\uff1a2025.12.13 (\u516d) 15:20-16:40<\/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\/1985973153860861952<\/a><\/span><\/strong><\/p>\n

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

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

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

\"\"<\/p>\n

    \n
  1. <\/li>\n
  2. 1. \u592a\u7a7a\u4e2d\u7684\u7c92\u5b50 Particles in Space<\/b><\/li>\n<\/ol>\n

    \u840a\u6069<\/span>\u30fb<\/span>\u840a<\/span> \u00a0<\/span>Len Lye<\/span><\/p>\n

    USA \uff5c 1980 \uff5c 16mm\uff5c B&W\u00a0 \uff5c Sound \uff5c 4min<\/span><\/p>\n

     <\/p>\n

    \u840a\u6069\u30fb\u840a\u7684\u96fb\u5f71\u300a\u592a\u7a7a\u4e2d\u7684\u7c92\u5b50\u300b\u63a2\u8a0e\u4e86\u300a\u81ea\u7531\u6fc0\u9032\u5206\u5b50 Free Radicals\u300b\u4e2d\u6240\u904b\u7528\u7684\u76f4\u63a5\u52d5\u756b\u624b\u6cd5\u3002\u7531\u6b64\u7522\u751f\u7684\u9ede\u548c\u7dda\u5728\u87a2\u5e55\u4e0a\u9583\u720d\u5954\u8dd1\uff0c\u5145\u6eff\u85dd\u8853\u5bb6\u6a19\u8a8c\u6027\u7684\u9ad8\u80fd\u91cf\u6fc0\u60c5\u3002\u840a\u6069\u30fb\u840a\u57fa\u91d1\u6703\u6307\u51fa\uff0c\u9019\u4f4d\u85dd\u8853\u5bb6\u5728 20 \u4e16\u7eaa 60 \u5e74\u4ee3\u5275\u4f5c\u4e86\u8a72\u4f5c\u54c1\u7684\u591a\u500b\u7248\u672c\uff0c\u4f46\u5728 1979 \u5e74\uff0c\u5728\u53f2\u8482\u592b\u30fb\u74ca\u65af\u548c\u4fdd\u7f85\u30fb\u5df4\u6069\u65af\u7684\u5354\u52a9\u4e0b\uff0c\u5e7e\u4e4e\u5168\u90e8\u91cd\u65b0\u88fd\u4f5c\u3002\u5f71\u50cf\u8207\u5df4\u54c8\u99ac\u548c\u5c3c\u65e5\u5229\u4e9e\u7684\u9f13\u6a02\u540c\u6b65\uff0c\u4ee5\u83b1\u6069\u92fc\u88fd\u52d5\u529b\u96d5\u5851\uff08\u83b1\u6069\u70ba\u8a72\u85dd\u8853\u9818\u57df\u7684\u5148\u9a45\uff09\u7684\u8072\u97f3\u958b\u5834\u548c\u7d50\u675f\u3002\u83b1\u6069\u65bc 1980 \u5e74\uff08\u300a\u592a\u7a7a\u4e2d\u7684\u7c92\u5b50\u300b\u767c\u884c\u7684\u540c\u5e74\uff09\u53bb\u4e16\uff0c\u4ed6\u7559\u4e0b\u7684\u907a\u7522\u80af\u5b9a\u4e86\u85dd\u8853\u8207\u79d1\u5b66\u878d\u5408\u7684\u751f\u6210\u6f5c\u529b\uff0c\u4ed6\u7684\u4f5c\u54c1\u81f3\u4eca\u4ecd\u5c0d\u7576\u4ee3\u85dd\u8853\u548c\u96fb\u5f71\u7522\u751f\u8457\u6df1\u9060\u7684\u5f71\u97ff\u3002\u2014Energy Fields: Vibrations of The Pacific<\/span><\/p>\n

     <\/p>\n

    Len Lye\u2019s film<\/span> Particles in Space<\/span><\/i> explores the direct animation methods used in Free Radicals. The resulting dots and dashes flash and race across screen with the kind of high-energy excitement that is a hallmark of the artist\u2019s work. The Len Lye Foundation notes that the artist \u201cmade several versions of the film in the 1960s but almost completely remade it in 1979 with the assistance of Steve Jones and Paul Barnes. Synchronized to drum music from the Bahamas and from Nigeria, the film begins and ends with sounds of Lye\u2019s steel kinetic sculptures (another area of art in which he was a pioneer).\u201d Lye, who passed away in 1980 (the year Particles in Space was released), left a legacy affirming the generative potential of merging art and science, and his works continue to influence contemporary art and film. \u2014Energy Fields: Vibrations of The Pacific\u00a0<\/span><\/p>\n

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

      \n
    1. 2. \u9999\u8178\u57ce Sausage City<\/b><\/li>\n<\/ol>\n

      \u4e9e\u7576\u30fb\u8c9d\u514b\u7279 <\/span>Adam Beckett<\/span><\/p>\n

      USA \uff5c 1974 \uff5c 16mm\uff5c Color \uff5c Sound \uff5c 5min 30sec<\/span><\/p>\n

       <\/p>\n

      \u5f9e\u4e00\u500b\u767d\u8272\u7684\u87a2\u5e55\u958b\u59cb\uff0c\u4e00\u500b\u7531\u76f8\u4e92\u95dc\u806f\u7684\u76d2\u5b50\u7d44\u6210\u7684\u57ce\u5e02\u9010\u6f38\u6f14\u8b8a\uff0c\u5b83\u7e3d\u662f\u5728\u79fb\u52d5\uff0c\u8996\u89d2\u4e5f\u4e0d\u65b7\u8b8a\u5316\u3002\u904e\u4e86\u4e00\u6703\u5152\uff0c\u9019\u5718\u9999\u8178\u958b\u59cb\u5192\u51fa\u4f86\u3002\u5b83\u5011\u662f\u4e00\u5806\u7d93\u904e\u7cbe\u5fc3\u6e32\u67d3\uff08\u4f7f\u7528\u7cbe\u7f8e\u7684\u5f69\u8272\u925b\u7b46\u6280\u5de7\uff09\u7684\u9999\u8178\u3002\u96a8\u8457\u6642\u9593\u7684\u63a8\u79fb\uff0c\u5c31\u6703\u7522\u751f\u4e00\u5927\u5806\u9999\u8178\uff1b\u4e8b\u5be6\u4e0a\uff0c\u87a2\u5e55\u8b8a\u6210\u4e86\u4e00\u500b\u6cb8\u9a30\u3001\u60b8\u52d5\u3001\u751f\u6a5f\u52c3\u52c3\u7684\u751f\u547d\u9ad4\u3002\u7d50\u5c40\u4ee4\u4eba\u9a5a\u559c\u3002<\/span><\/p>\n

       <\/p>\n

      \u97f3\u6a02\uff1aBrillo<\/span><\/p>\n

       <\/p>\n

      Starting with a white screen, a city of interlocking boxes evolves, always moving, constantly changing perspective. After a while, this group of sausages begins to emerge. They are a thoroughly rendered (using fancy colored-pencil technique) bunch of sausages. As time passes there get to be a whole bunch of sausages; in fact, the screen becomes one mass of seething, throbbing, pullulating life. The ending is a surprise.<\/span><\/p>\n

       <\/p>\n

      Music: Brillo<\/span><\/p>\n

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

      \"\"<\/p>\n

        \n
      1. 3. \u5bcc\u58eb Fuji<\/b><\/li>\n<\/ol>\n

        \u7f85\u4f2f\u30fb\u7279\u5e03\u91cc\u723e <\/span>Robert Breer<\/span><\/p>\n

        USA \uff5c 1974 \uff5c 16mm\uff5c Color \uff5c Sound \uff5c 8min 30sec<\/span><\/p>\n

         <\/p>\n

        \u300c\u4e00\u90e8\u5145\u6eff\u8a69\u610f\u3001\u7bc0\u594f\u611f\u5f37\u3001\u5f15\u4eba\u5165\u52dd\u7684\u4f5c\u54c1\uff08\u8f49\u63cf\u548c\u62bd\u8c61\u52d5\u756b\uff09\uff0c\u5176\u4e2d\u98a8\u666f\u3001\u4e58\u5ba2\u548c\u706b\u8eca\u5167\u90e8\u7684\u7247\u6bb5\u878d\u5408\u6210\u4e00\u5834\u5922\u5e7b\u822c\u7684\u65c5\u884c\u3002\u9019\u662f\u5927\u5e2b\u6700\u91cd\u8981\u7684\u4f5c\u54c1\u4e4b\u4e00\uff0c\u4ed6\u8207\u5eb7\u7d0d\u3001\u5e03\u62c9\u54c8\u683c\u3001\u5e03\u52de\u9813\u4e00\u6a23\uff0c\u5728\u5176\u8d8a\u4f86\u8d8a\u5b8c\u7f8e\u7684\u63a2\u7d22\u4e2d\u8de8\u8d8a\u4e86\u591a\u500b\u524d\u885b\u6d3e\u3002\u300d – Amos Vogel\uff0c\u5f71\u8a55\u4eba<\/span><\/p>\n

         <\/p>\n

        “A poetic, rhythmic, riveting achievement (in rotoscope and abstract animation), in which fragments of landscapes, passengers, and train interiors blend into a magical color dream of a voyage. One of the most important works by a master who – like Conner, Brakhage, Broughton – spans several avant-gardes in his ever more perfect explorations.” – Amos Vogel, Film Comment<\/span><\/p>\n

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

        \"\"<\/p>\n

          \n
        1. 4<\/b>. \u865b\u7a7a\u5e7b\u5883 Void Vision<\/b><\/li>\n<\/ol>\n

          \u4e9e\u6b77\u5c71\u5927\u30fb\u53f2\u90fd\u83ef <\/span>Alexander Stewart\u00a0<\/span><\/p>\n

          USA \uff5c 2018 \uff5c 16mm\uff5c Color \uff5c Sound \uff5c 8min \uff5c<\/span>\u7121\u4e2d\u6587\u5b57\u5e55<\/span>
          \n<\/span>
          \n<\/span>\u8a3b* \u5c0e\u6f14\u7684\u8a71\uff1a\u65c1\u767d\u90e8\u5206\u5728\u4ed6\u5275\u4f5c\u6982\u5ff5\u4e0a\u662f\u70ba\u97f3\u6a02\u7684\u4e00\u90e8\u5206\uff0c\u91cd\u5176\u807d\u89ba\u7d93\u9a57\uff0c\u800c\u975e\u4ee5\u8a9e\u8a00\u7684\u65b9\u5f0f\u7406\u89e3\u3002\u56e0\u6b64\u5f71\u7247\u7121\u4e2d\u6587\u5b57\u5e55\uff0c\u7279\u6b64\u8aaa\u660e\u3002<\/span><\/p>\n

           <\/p>\n

          \u300a\u865b\u7a7a\u5e7b\u5883\u300b\u662f\u4e00\u90e8\u62bd\u8c61\u7684\u79d1\u5e7b\u77ed\u7247\uff0c\u5176\u4e2d\u771f\u5be6\u548c\u6a21\u64ec\u90fd\u662f\u540c\u7b49\u69cb\u9020\u7684\uff1b\u4e00\u500b\u96d9\u91cd\u3001\u5b7f\u751f\u3001\u91cd\u8907\u3001\u518d\u5275\u9020\u548c\u8907\u88fd\u76f8\u4e92\u878d\u5408\u7684\u7a7a\u9593\u3002<\/span><\/p>\n

           <\/p>\n

          \u300a\u865b\u7a7a\u5e7b\u5883\u300b \u5c07\u79d1\u5e7b\u611f\u8207\u65e9\u671f CG \u52d5\u756b\u5be6\u9a57\u7684\u7f8e\u5b78\u7d50\u5408\u3002\u65cb\u8f49\u7684\u96f7\u5c04\u548c\u91cd\u8907\u7684\u5973\u6027\u5728\u87a2\u5e55\u4e0a\u6de1\u5165\u6de1\u51fa\uff0c\u65e2\u50cf\u62cd\u651d\u7684\u5834\u666f\uff0c\u53c8\u50cf CG \u6a21\u578b\u7684\u518d\u73fe\u3002\u9019\u9996\u97f3\u8ecc\u878d\u5408\u4e86\u83f2\u5229\u666e\u30fb\u8fea\u514b (Philip K. Dick) \u7684\u300aVALIS\u300b\u4e2d\u7684\u6587\u5b57\uff0c\u4e26\u914d\u6709\u5373\u8208\u96fb\u5b50\u6a02\u8b5c\u548c\u5ba3\u63da\u601d\u60f3\u548c\u5b87\u5b99\u7406\u8ad6\u7684\u8072\u97f3\u3002<\/span><\/p>\n

           <\/p>\n

          \u300a\u865b\u7a7a\u5e7b\u5883\u300b \u8868\u9054\u4e86\u5c0d\u73fe\u5be6\u7684\u601d\u8003\u548c\u91cd\u65b0\u601d\u8003\uff1b\u4e00\u5834\u5145\u6eff\u504f\u57f7\u548c\u7269\u5316\u7684\u51b0\u51b7\u72c2\u71b1\u5922\u3002<\/span><\/p>\n

           <\/p>\n

          \u97f3\u6548\uff1a\u8cbb\u8389\u897f\u4e9e\u30fb\u963f\u7279\u91d1\u68ee<\/span><\/p>\n

           <\/p>\n

          VOID VISION is an abstract science-fiction short in which the real and the simulated are equally constructions; a space where doubles, twins, duplicates, re-creations, and copies blend into one another.<\/span><\/p>\n

           <\/p>\n

          VOID VISION combines a science-fiction sensibility with the aesthetic of early CG animation experiments. Rotating arrangements of lasers and duplicated women fade in and out on screen, appearing as both photographed scenes and CG-modeled recreations. The audio track, incorporating text from Philip K. Dick’s VALIS, features an improvised electronic score and a voice espousing theories about the mind and the universe.<\/span><\/p>\n

           <\/p>\n

          VOID VISION presents a consideration and re-consideration of a reality; a cold fever-dream of paranoia and reification.<\/span><\/p>\n

           <\/p>\n

          Sound: Felicia Atkinson<\/span><\/p>\n

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

          \"\"<\/p>\n

            \n
          1. 5. \u963f\u6ce2\u7f85 Apollo<\/b><\/li>\n<\/ol>\n

            \u897f\u5ddd\u667a\u4e5f <\/span>Tomonari Nishikawa<\/span><\/p>\n

            USA \uff5c 2003 \uff5c 16mm\uff5c B&W \uff5c Sound \uff5c 6min\u00a0<\/span><\/p>\n

             <\/p>\n

            \u521d\u8877\u662f\u60f3\u56de\u7b54\u4e00\u500b\u554f\u984c\uff1a\u96fb\u5f71\u5982\u4f55\u6210\u70ba\u6700\u597d\u7684\u85dd\u8853\u5f62\u5f0f\uff0c\u5c55\u73fe\u65e5\u795e\u85dd\u8853\uff08Apollonian\uff09\u8207\u72c4\u4fc4\u5c3c\u7d22\u65af\u85dd\u8853\uff08Dionysian Art\uff09\u7684\u5b8c\u7f8e\u4e8c\u5143\u6027\u3002<\/span><\/p>\n

             <\/p>\n

            \u9019\u90e8\u5f71\u7247\u5206\u70ba\u56db\u500b\u90e8\u5206\uff0c\u6309\u7167\u6211\u4f7f\u7528\u7684\u6280\u8853\u4f86\u5283\u5206\uff1a\u5f71\u50cf\u8a18\u9304\u3001\u55ae\u683c\u62cd\u651d\u3001\u7528 35 \u6beb\u7c73\u975c\u614b\u55ae\u773c\u76f8\u6a5f\u62cd\u651d 16 \u6beb\u7c73\u81a0\u5377\u4ee5\u53ca\u7db2\u72c0\u62cd\u651d\u3002\u651d\u5f71\u7167\u7247\u548c\u55ae\u773c\u62cd\u651d\u7684\u5f71\u50cf\u7684\u8072\u97f3\u8cc7\u8a0a\u5206\u6563\u5728\u5149\u5b78\u97f3\u8ecc\u5340\u57df\uff0c\u800c\u6211\u5c0d\u5149\u5b78\u97f3\u8ecc\u5340\u57df\u9032\u884c\u4e86\u5212\u75d5\u8655\u7406\uff0c\u4ee5\u7372\u5f97\u55ae\u5e45\u548c\u7db2\u72c0\u90e8\u5206\u7684\u8072\u97f3\u3002\u6211\u5c07\u9019\u90e8\u96fb\u5f71\u4f5c\u70ba\u6211\u5728\u7d10\u7d04\u5dde\u7acb\u5927\u5b78\u8cd3\u6f22\u59c6\u9813\u5206\u6821\u7684\u7562\u696d\u8ad6\u6587\u9805\u76ee\uff0c\u6731\u8389\u30fb\u83ab\u745e\u662f\u6211\u7684\u5c0e\u5e2b\u3002<\/span><\/p>\n

             <\/p>\n

            The original intention was to answer a question: how cinema can be the best art form, showing the perfect dualism of Apollonian and Dionysian Art.<\/span><\/p>\n

             <\/p>\n

            This film has four parts, separated by the techniques I used: photogram, single-framing, shooting 16mm filmstrips by a 35mm still SLR camera, and reticulation. The sound information of the photogram and the images shot by an SLR spread on the optical soundtrack area, and I scratched the optical soundtrack area for the sound of the single-framing and reticulation parts. I made this film as my senior thesis project at SUNY Binghamton, Julie Murray was my advisor.<\/span><\/p>\n

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

            \"\"<\/p>\n

              \n
            1. 6. \u5149\u5e74\u64f4\u5c55 Light Years Expanding<\/b><\/li>\n<\/ol>\n

              \u8ca2\u6c83\u30fb\u5c3c\u723e\u68ee\u00a0 <\/span>Gunvor Nelson<\/span><\/p>\n

              USA \uff5c 1988 \uff5c 16mm\uff5c Color \uff5c Sound \uff5c 25min<\/span><\/p>\n

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

              \u300a\u5149\u5e74\u64f4\u5c55\u300b\u662f\u300a\u5149\u5e74\u300b\u7684\u9032\u4e00\u6b65\u5ef6\u4f38\uff0c\u8b1b\u8ff0\u4e86\u5c3c\u723e\u68ee\u5728\u745e\u5178\u7684\u65c5\u7a0b\uff0c\u5979\u5c07\u52d5\u756b\u8207\u771f\u4eba\u8868\u6f14\u878d\u70ba\u4e00\u9ad4\u3002\u5982\u679c\u904b\u52d5\u662f\u300a\u5149\u5e74\u300b\u7684\u4e3b\u8981\u7279\u5fb5\u4e4b\u4e00\uff0c\u90a3\u9ebc\u300a\u5149\u5e74\u64f4\u5c55\u300b\u5247\u66f4\u591a\u5730\u570d\u7e5e\u8457\u5f71\u50cf\u4f5c\u54c1\u5c55\u958b\uff0c\u5f9e\u800c\u9810\u793a\u4e86\u5979\u6700\u5f8c\u4e00\u90e8\u4e5f\u662f\u6700\u8907\u96dc\u7684\u62fc\u8cbc\u96fb\u5f71\u300a\u81ea\u7136\u7279\u5fb5\u300b\u3002<\/span><\/p>\n

               <\/p>\n

              Light Years Expanding is a further elaboration of Light Years, Nelson\u2019s journey into the Swedish landscape in which she is blending animation with live-action. Whereas movement was one of the prime characteristics of Light Years, Light Years Expanding revolves more around the image-work, thus foreshadowing her last and most complicated collage film Natural Features.<\/span><\/p>\n

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

              \"\"<\/p>\n

                \n
              1. 7. \u5bae\u5973 Odalisque<\/b><\/li>\n<\/ol>\n

                \u83ab\u7433\u30fb\u585e\u723e\u4f0d\u5fb7 Maureen Selwood<\/span><\/p>\n

                USA \uff5c 1980 \uff5c 35mm to digital\uff5c Color \uff5c Sound \uff5c 11min 30sec<\/span><\/p>\n

                 <\/p>\n

                \u5728\u9019\u4e9b\u5922\u5883\u4e2d\uff0c\u585e\u723e\u4f0d\u5fb7\u4ee5\u6d6a\u6f2b\u548c\u5192\u96aa\u70ba\u80cc\u666f\u2014\u2014\u4f5c\u70ba\u4e00\u540d\u5496\u5561\u9928\u85dd\u8853\u5bb6\u548c\u6b4c\u5287\u6f14\u5531\u5bb6\u2014\u2014\u5c07\u7537\u6027\u5e7b\u60f3\u8207\u901a\u5e38\u8207\u9019\u4e9b\u7d50\u69cb\u76f8\u95dc\u7684\u6d6a\u6f2b\u6163\u4f8b\u76f8\u806f\u7e6b\uff0c\u5f9e\u800c\u6253\u7834\u4e86\u9019\u4e9b\u5922\u5883\u3002\u5728\u6bcf\u4e00\u500b\u5834\u666f\u4e2d\uff0c\u5979\u90fd\u64fa\u812b\u4e86\u5c07\u5973\u6027\u7f6e\u65bc\u88ab\u52d5\u6216\u6b7b\u4ea1\u7684\u50b3\u7d71\u675f\u7e1b\uff0c\u56de\u5230\u4e86\u5979\u7684\u5ba2\u5ef3\uff0c\u5979\u8996\u89ba\u4e0a\u6ecb\u990a\u7684\u4e16\u754c\u3002 \u585e\u723e\u4f0d\u5fb7\u63d0\u5021\u4ee5\u66f4\u81ea\u7136\u7684\u5f62\u50cf\u4f5c\u70ba\u897f\u65b9\u85dd\u8853\u4e2d\u5973\u6027\u73fe\u5be6\u4e3b\u7fa9\u7684\u57fa\u790e\u3002\u5169\u7a2e\u98a8\u683c\u4ee5\u4e00\u7a2e\u4e0d\u548c\u8ae7\u7684\u65b9\u5f0f\u4e26\u7f6e\uff0c\u6d41\u66a2\u3001\u512a\u96c5\u7684\u52d5\u4f5c\u8207\u5973\u6027\u7279\u8cea\u76f8\u5c0d\u7167\uff0c\u800c\u5361\u901a\u4e16\u754c\u5247\u4f7f\u7528\u77f3\u58a8\u548c\u5f69\u8272\u925b\u7b46\u7e6a\u88fd\u52d5\u756b\uff0c\u5f62\u5f0f\u74e6\u89e3\u3001\u84b8\u767c\u3002<\/span><\/p>\n

                 <\/p>\n

                Made with the aid of romance and adventure\u2014as a cafe artist and an opera singer\u2014in these dreams, Selwood deflates as male fantasies the romantic conventions usually associated with these constructs. In each sequence, she escapes conventional confines that would relegate women to passivity or death and flows back to her living room, her visually nurturant world.\u00a0 Selwood calls attention to a more naturalistic figuration as the basis for a realism regarding women in Western art. Two styles are juxtaposed in a jarring fashion, fluid, graceful motion associated with the feminine against the disintegration and evaporation of form associated with the cartoon world using drawn animation with graphite and colored pencil.<\/span><\/p>\n

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

                Total Runtime: 67.5 mins<\/span><\/p>\n

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

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

                 <\/p>\n

                \u2726 \u840a\u6069<\/strong><\/span>\u30fb\u840a Len Lye<\/strong><\/p>\n

                 <\/p>\n

                \u6191\u85c9\u8c50\u5bcc\u7684\u7d93\u9a57\uff0c\u4ed6\u80fd\u5920\u5f9e\u4e0d\u540c\u5c0b\u5e38\u7684\u89d2\u5ea6\u53bb\u770b\u5f85\u6bcf\u4e00\u7a2e\u85dd\u8853\uff0c\u56e0\u6b64\u4ed6\u5728 20 \u4e16\u7d00 30 \u5e74\u4ee3\u63d0\u51fa\u4e86\u4e00\u4e9b\u6fc0\u9032\u7684\u60f3\u6cd5\uff0c\u4f8b\u5982\u4e0d\u7528\u651d\u5f71\u6a5f\u88fd\u4f5c\u96fb\u5f71\uff08<\/span>\u300cdirect films \u76f4\u63a5\u96fb\u5f71\u300d\u201cdirect films \u76f4\u63a5\u96fb\u5f71\u201d<\/span>\uff09\uff0c\u6216\u8005\u4f7f\u7528\u7279\u85dd\u5f69\u8272\u6280\u8853\u5c07\u7d20\u6750\u8f49\u63db\u6210\u8207\u73fe\u4ee3\u7e6a\u756b\u4e00\u6a23\u7d62\u9e97\u548c\u51fa\u4eba\u610f\u6599\u7684\u5f69\u8272\u5716\u6848\u3002\u840a\u6069<\/span>\u30fb<\/span>\u00b7\u840a\u624d\u83ef\u6d0b\u6ea2\u3001\u5275\u9020\u529b\u5341\u8db3\uff0c\u500b\u6027\u6d3b\u6f51\uff0c\u4eba\u751f\u7d93\u6b77\u975e\u51e1\uff0c\u662f\u4e00\u4f4d\u5f15\u4eba\u6ce8\u76ee\u7684\u4eba\u7269\u3002<\/span><\/p>\n

                 <\/p>\n

                \u840a\u6069<\/span>\u30fb<\/span>\u00b7\u840a\u662f\u591a\u9805\u96fb\u5f71\u88fd\u4f5c\u6280\u8853\u7684\u5148\u9a45\uff0c\u5176\u4e2d\u5305\u62ec\u300c\u76f4\u63a5\u52d5\u756b\u300d\uff0c\u5373\u76f4\u63a5\u5728\u81a0\u7247\u4e0a\u7e6a\u88fd\u548c\u523b\u756b\u8a2d\u8a08\u7684\u904e\u7a0b\u3002\u4ed6\u65bc 1929 \u5e74\u88fd\u4f5c\u4e86\u7b2c\u4e00\u90e8\u52d5\u756b\u96fb\u5f71\uff0c\u4e26\u7e7c\u7e8c\u5617\u8a66\u65b0\u7684\u96fb\u5f71\u88fd\u4f5c\u6280\u8853\uff0c\u76f4\u5230 1980 \u5e74\u53bb\u4e16\u3002\u4ed6\u5e0c\u671b\u52d5\u756b\u5e2b\u6210\u70ba\u300c\u81ea\u7531\u57fa\u5206\u5b50\u300d\u3002\u4ed6\u66fe\u5beb\u9053\uff1a\u300c\u5982\u679c\u6c92\u6709\u5be6\u9a57\u96fb\u5f71\u88fd\u4f5c\u8005\u7684\u7cbe\u795e\uff0c\u5c31\u4e0d\u6703\u6709\u5049\u5927\u7684\u96fb\u5f71\u3002\u6240\u6709\u5049\u5927\u7684\u96fb\u5f71\u90fd\u6703\u5728\u65b9\u5f0f\u6216\u8655\u7406\u4e0a\u8ca2\u737b\u4e00\u4e9b\u539f\u5275\u7684\u6771\u897f\u3002\u300d<\/span><\/p>\n

                 <\/p>\n

                From the breadth of his experience he was able to approach each art from an unusual angle, and so he came up with such radical ideas in the 1930’s as making films without a camera (“direct films”), or using Technicolor to transform footage into colour patterns as brilliant and unexpected as those of modern painting. His range of talents and inventiveness, combined with a lively personality and a remarkable life story, make Len Lye a compelling subject.<\/span><\/p>\n

                 <\/p>\n

                Lye was the pioneer of many film-making techniques, including ‘direct animation’, the process of drawing and scratching designs directly onto film. He made his first animated film in 1929 and continued experimenting with new film-making techniques to the end of his life in 1980. Throughout his 50 year career as a film-maker, Lye saw animated film as a perfect medium for experiment. He wanted animators to be “free radicals”. He once wrote: “There has never been a great film unless it was created in the spirit of the experimental film-maker. All great films contribute something original in manner or treatment”.<\/span><\/p>\n

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

                \u2726\u4e9e\u7576\u30fb\u8c9d\u514b\u7279 Adam Beckett<\/span><\/p>\n

                 <\/p>\n

                \u300c\u4e9e\u7576\u8c9d\u514b\u7279\u662f\u773e\u591a\u65b0\u661f\u4e2d\u7684\u4e00\u9846\u65b0\u661f\uff0c\u4ed6\u5c0d\u52a0\u5dde\u85dd\u8853\u5b78\u9662\u6731\u723e\u65af<\/span>\u30fb<\/span>\u6069\u683c\u723e\u7576\u6642\u65b0\u6210\u7acb\u7684\u5be6\u9a57\u52d5\u756b\u5c08\u696d\u7684\u540c\u5b78\u7522\u751f\u4e86\u5de8\u5927\u5f71\u97ff\u3002\u4e9e\u7576\u591a\u7522\u4e14\u624d\u83ef\u6a6b\u6ea2\uff0c\u90a3\u4e9b\u53c3\u52a0 20 \u4e16\u7d00 70 \u5e74\u4ee3\u5145\u6eff\u6d3b\u529b\u7684\u96fb\u5f71\u7bc0\u793e\u5340\u4e26\u4e86\u89e3\u4e0d\u65b7\u767c\u5c55\u7684\u52d5\u756b\u548c\u5be6\u9a57\u96fb\u5f71\u6d41\u6d3e\u7684\u4eba\u4ecd\u7136\u8a18\u5f97\u4ed6\u30021970 \u5e74\u81f3 1975 \u5e74\u300a\u611b\u5fb7\u300b\uff08\u8a79\u59c6\u65af\u7d05\u661f\u7684\u9032\u5316\u300b\u3001\u300a\u9999\u8178\u57ce\u300b\u3001\u300a\u8089\u9ad4\u6d41\u52d5\u300b\u3001\u300a\u91cd\u5149\u300b\u548c\u300a\u5a9a\u4fd7\u540c\u6b65\u300b\u3002<\/span><\/p>\n

                 <\/p>\n

                “A star among many rising stars, Adam Beckett had a great influence on his fellow students in Jules Engel’s then newly-formed Experimental Animation program at CalArts. Both prolific and talented, Adam is still remembered by those who participated in the vibrant film festival community of the 1970’s, and who were aware of the evolving animation and experimental film genres. Between 1970 and 1975, Beckett completed seven groundbreaking films: The Letter (with James Gore), Dear Janice, Evolution of the Red Star, Sausage City, Flesh Flows, Heavy-Light and Kitsch in Synch. Two larger independent animations, Life in the Atom and Knotte Grosse, remain unfinished due to Beckett’s work in the growing visual effects industry and his tragic and untimely death in 1979 at the age of 29.<\/span><\/p>\n

                 <\/p>\n

                “Beckett’s approach to animation was distinguished by his use of the optical printer in conjunction with the animation stand, which was not unlike the way a conductor would arrange the abstract but distinct parts of a symphonic composition. Beckett favored the complex use of animated loops: each successive iteration accreted additional images so that the loops did not merely repeat but evolved, appearing at once the same and different. In addition to drawing, Beckett used the optical camera to re-shoot various cycles: offsetting the frames to create a phasing rhythm and changing the color or re-framing a portion of the drawing for select sequences. This approach is seen in all of his solo films and is perhaps most marked in Evolution of the Red Star and Heavy-Light, a masterful visual universe created from only 13 drawings.<\/span><\/p>\n

                 <\/p>\n

                “In 1975, Beckett headed his own studio, Infinite Animation, and was simultaneously pursuing his MFA and teaching at CalArts. Because of his technical finesse, vision, and his creative ability to develop unique techniques, Beckett was recruited to head the Rotoscope and Animation Department on the ground-breaking science fiction film Star Wars. Subsequently Beckett worked on other commercial projects including the horror film Piranha (1978). This immersion into the commercial world, sadly, seems to have sidelined his personal work.<\/span><\/p>\n

                 <\/p>\n

                “Although Adam Beckett’s independent films are now 30 years old, they still resonate as unique and relevant in the ongoing discourse of art animation.” –Pamela Turner, Project Director, Iota Center<\/span><\/p>\n

                 <\/p>\n

                \u2726 \u7f85\u4f2f\u7279<\/strong><\/span>\u30fb\u5e03\u91cc\u723e Robert Breer<\/strong><\/p>\n

                 <\/p>\n

                \u7f85\u4f2f\u7279<\/span>\u30fb<\/span>\u5e03\u91cc\u723e\u4f5c\u70ba\u85dd\u8853\u5bb6\u548c\u52d5\u756b\u5e2b\u7684\u8077\u696d\u751f\u6daf\u9577\u905450\u5e74\uff0c\u4ed6\u7684\u5275\u610f\u63a2\u7d22\u4f7f\u4ed6\u6210\u70ba\u570b\u969b\u4eba\u7269\u3002 1949 \u5e74\u81f3 1959 \u5e74\u5c45\u4f4f\u5728\u5df4\u9ece\u671f\u9593\uff0c\u4ed6\u4ee5\u756b\u5bb6\u7684\u8eab\u4efd\u958b\u59cb\u4e86\u81ea\u5df1\u7684\u85dd\u8853\u8ffd\u6c42\u3002\u4ed6\u4f7f\u7528\u820a\u7684 Bolex 16mm \u76f8\u6a5f\u62cd\u651d\u7684\u7b2c\u4e00\u6279\u96fb\u5f71\uff0c\u4f8b\u5982\u300aForm Phases\u300b\uff0c\u90fd\u662f\u57fa\u65bc\u4ed6\u7684\u62bd\u8c61\u756b\u7684\u7c21\u55ae\u5b9a\u683c\u52d5\u756b\u7814\u7a76\u3002<\/span><\/p>\n

                 <\/p>\n

                \u5e03\u91cc\u723e\u4e00\u76f4\u5c0d\u96fb\u5f71\u7684\u6a5f\u5236\u5341\u5206\u8457\u8ff7\u3002\u6216\u8a31\u662f\u7236\u89aa\u5c0d 3D \u7684\u8ff7\u6200\u555f\u767c\u4e86\u5e03\u91cc\u723e\u53bb\u4fee\u88dc\u65e9\u671f\u7684\u6a5f\u68b0\u96fb\u5f71\u8a2d\u5099\u3002\u4ed6\u7684\u7236\u89aa\u662f 1934 \u5e74\u50b3\u5947\u514b\u840a\u65af\u52d2 Airflow \u6c7d\u8eca\u7684\u5de5\u7a0b\u5e2b\u548c\u8a2d\u8a08\u5e2b\uff0c\u4e26\u88fd\u9020\u4e86\u4e00\u53f0 3D \u651d\u5f71\u6a5f\u4f86\u62cd\u651d\u5bb6\u5ead\u5ea6\u5047\u7684\u6240\u6709\u5834\u666f\u3002\u5728\u53f2\u4e39\u4f5b\u5927\u5b78\u5b78\u7fd2\u5de5\u7a0b\u5b78\u5f8c\uff0c\u5e03\u91cc\u723e\u5c07\u6ce8\u610f\u529b\u8f49\u5411\u624b\u5de5\u85dd\u4e26\u958b\u59cb\u5617\u8a66\u7ffb\u66f8\u3002\u9019\u4e9b\u52d5\u756b\u662f\u5728\u666e\u901a\u7684 4 \u82f1\u5bf8 x 6 \u82f1\u5bf8\u7684\u6587\u4ef6\u5361\u4e0a\u88fd\u4f5c\u7684\uff0c\u5df2\u6210\u70ba\u5e03\u91cc\u723e\u6240\u6709\u4f5c\u54c1\u7684\u6a19\u6e96\u3002<\/span><\/p>\n

                 <\/p>\n

                \u7576\u88ab\u554f\u53ca\u4ed6\u7684\u4f5c\u54c1\u6642\uff0c\u4ed6\u8aaa\u4ed6\u4ecd\u7136\u4f9d\u9760\u96fb\u5f71\u53f2\u548c\u65e9\u671f\u7684\u300c\u5c0f\u73a9\u610f\u300d\u4f5c\u70ba\u9748\u611f\u4f86\u6e90\u3002\u4ed6\u7684\u4f5c\u54c1\u300aNow You See It\u300b\uff081996 \u5e74\uff09\u4f7f\u7528\u96d9\u9762\u9762\u677f\u65cb\u8f49\u6210\u52d5\u756b\u96fb\u5f71\uff0c\u975e\u5e38\u985e\u4f3c\u65bc Thaumatrope\uff0c\u9019\u662f 1826 \u5e74\u7b2c\u4e00\u500b\u4f7f\u7528\u8996\u89ba\u66ab\u7559\u7684\u96fb\u5f71\u8a2d\u5099\u3002<\/span><\/p>\n

                 <\/p>\n

                \u4ed6\u7684\u4f5c\u54c1\u7684\u6838\u5fc3\u662f\u85dd\u8853\u5bb6\u7684\u60f3\u50cf\u529b\u8207\u760b\u72c2\u79d1\u5b78\u5bb6\u7684\u597d\u5947\u5fc3\u76f8\u7d50\u5408\uff0c\u6df1\u5165\u7814\u7a76\u5931\u843d\u7684\u96fb\u5f71\u6a94\u6848\uff0c\u4ee5\u5fa9\u8208\u88ab\u907a\u5fd8\u7684\u85dd\u8853\u5f62\u5f0f\uff0c\u4e26\u70ba\u5b50\u5b6b\u5f8c\u4ee3\u8ce6\u4e88\u65b0\u7684\u751f\u547d\u3002\u9019\u5c31\u662f\u5e03\u96f7\u723e\u7368\u7279\u4e16\u754c\u7684\u79d8\u5bc6\u3002 -Jackie Leger<\/span><\/p>\n

                 <\/p>\n

                Robert Breer’s career as artist and animator spans 50 years and his creative explorations have made him an international figure. He began his artistic pursuits as a painter while living in Paris from 1949-59. Using an old Bolex 16mm camera, his first films, such as Form Phases, were simple stop motion studies based on his abstract paintings.<\/span>
                \n<\/span>
                \n<\/span>Breer has always been fascinated by the mechanics of film. Perhaps his father’s fascination with 3-D inspired Breer to tinker with early mechanical cinematic devices. His father was an engineer and designer of the legendary Chrysler Airflow automobile in 1934 and built a 3-D camera to film all the family vacations. After studying engineering at Stanford, Breer changed his focus toward hand crafted arts and began experimenting with flip books. These animations, done on ordinary 4″ by 6″ file cards have become the standard for all of Breer’s work.<\/span>
                \n<\/span>
                \n<\/span>When asked about his work, he says that he still relies on the history of cinema and early “gadgets” as the source of his inspiration. His work “Now You See It” (1996), uses a two sided panel which spins into an animated film much like a Thaumatrope, the first cinematic device that used persistence of vision back in 1826. Like two slides flipping back and forth, it is a continuous animation based on his explorations into the devices of cinema’s early history (and prehistory), which dazzled audiences by creating visual kinesis.<\/span>
                \n<\/span>
                \n<\/span>At the heart of his work is the imagination of the artist mixed with the inquisitive mind of the mad scientist, delving into lost archives of cinema to revive forgotten art forms and giving them new life for generations to come. This is the secret to Breer’s unique world. -Jackie Leger<\/span><\/p>\n

                 <\/p>\n

                \u2726 \u4e9e\u6b77\u5c71\u5927<\/strong><\/span>\u30fb\u53f2\u90fd\u83ef Alexander Stewart\u00a0<\/strong><\/p>\n

                 <\/p>\n

                \u4e9e\u6b77\u5c71\u5927<\/span>\u30fb<\/span>\u53f2\u90fd\u83ef (1981 \u5e74\u51fa\u751f\u65bc\u963f\u62c9\u5df4\u99ac\u5dde\u83ab\u6bd4\u723e) \u7372\u5f97\u829d\u52a0\u54e5\u85dd\u8853\u5b78\u9662\u7684\u85dd\u8853\u78a9\u58eb\u5b78\u4f4d\u3002\u4ed6\u7684\u77ed\u7247\u66fe\u5728\u570b\u969b\u4e0a\u653e\u6620\uff0c\u5305\u62ec\u9e7f\u7279\u4e39\u570b\u969b\u96fb\u5f71\u7bc0\u3001\u6e25\u592a\u83ef\u570b\u969b\u52d5\u756b\u7bc0\u3001\u5b89\u5a1c\u5821\u96fb\u5f71\u7bc0\u548c\u65e5\u672c\u5716\u50cf\u8ad6\u58c7\u3002\u4ed6\u662f Eyeworks \u5be6\u9a57\u52d5\u756b\u7bc0\u7684\u806f\u5408\u5275\u59cb\u4eba\uff0c\u4e26\u65bc 2006 \u5e74\u81f3 2013 \u5e74\u7b56\u5283\u4e86\u829d\u52a0\u54e5 Roots & Culture \u7576\u4ee3\u85dd\u8853\u4e2d\u5fc3\u7684\u96fb\u5f71\u548c\u9304\u50cf\u653e\u6620\u7cfb\u5217\u3002\u4ed6\u4f4f\u5728\u6d1b\u6749\u78ef\uff0c\u5728\u52a0\u5dde\u85dd\u8853\u5b78\u9662\u7684\u5be6\u9a57\u52d5\u756b\u8ab2\u7a0b\u4e2d\u4efb\u6559\u3002<\/span><\/p>\n

                 <\/p>\n

                Alexander Stewart (1981, Mobile, Alabama) received his MFA from the School of the Art Institute of Chicago. His short films have screened internationally, including at the International Film Festival Rotterdam, the Ottawa International Animation Festival, the Ann Arbor Film Festival, and Image Forum in Japan. He is co-founder of the Eyeworks Festival of Experimental Animation, and curated the film and video screening series at Roots & Culture Contemporary Art Center in Chicago from 2006 to 2013. He lives in Los Angeles and teaches in the Experimental Animation program at CalArts.<\/span><\/p>\n

                 <\/p>\n

                \u2726 \u897f\u5ddd\u667a\u4e5f <\/strong><\/span>Tomonari Nishikawa<\/strong><\/p>\n

                 <\/p>\n

                \u897f\u5ddd\u7684\u96fb\u5f71\u63a2\u7d22\u900f\u904e\u9078\u64c7\u7684\u5a92\u6750\u548c\u6280\u8853\u4f86\u8a18\u9304\u60c5\u6cc1\/\u73fe\u8c61\u7684\u60f3\u6cd5\uff0c\u901a\u5e38\u8457\u91cd\u65bc\u85dd\u8853\u5275\u4f5c\u7684\u904e\u7a0b\u3002\u4ed6\u7684\u96fb\u5f71\u66fe\u5728\u8a31\u591a\u96fb\u5f71\u7bc0\u548c\u85dd\u8853\u5834\u9928\u653e\u6620\uff0c\u5305\u62ec\u67cf\u6797\u96fb\u5f71\u7bc0\u3001\u611b\u4e01\u5821\u570b\u969b\u96fb\u5f71\u7bc0\u3001\u9999\u6e2f\u570b\u969b\u96fb\u5f71\u7bc0\u3001\u9e7f\u7279\u4e39\u570b\u969b\u96fb\u5f71\u7bc0\u3001\u502b\u6566\u96fb\u5f71\u7bc0\u3001\u7d10\u7d04\u96fb\u5f71\u7bc0\u3001\u5a92\u9ad4\u57ce\u96fb\u5f71\u7bc0\u3001\u65b0\u52a0\u5761\u570b\u969b\u96fb\u5f71\u7bc0\u548c\u591a\u502b\u591a\u570b\u969b\u96fb\u5f71\u7bc0\u3002 2010\u5e74\uff0c\u4ed6\u5728 MoMA P.S.1 \u7576\u4ee3\u85dd\u8853\u4e2d\u5fc3\u653e\u6620\u4e86\u4e00\u7cfb\u5217 8 \u6beb\u7c73\u548c 16 \u6beb\u7c73\u96fb\u5f71\uff0c\u4ed6\u7684\u96fb\u5f71\u88dd\u7f6e\u300a945\u865f\u6a13\u300b\u7372\u5f97\u4e86\u897f\u73ed\u7259\u7576\u4ee3\u96fb\u5f71\u535a\u7269\u99282008\u5e74\u5ea6\u7684\u8cc7\u52a9\u3002\u4ed6\u76ee\u524d\u5728\u8cd3\u6f22\u59c6\u9813\u5927\u5b78\u96fb\u5f71\u7cfb\u4efb\u6559\u3002<\/span><\/p>\n

                 <\/p>\n

                Nishikawa’s films explore the idea of documenting situations\/phenomena through chosen medium and techniques, often focusing on the process of art making. His films have been screened at numerous film festivals and art venues, including Berlinale, Edinburgh International Film Festival, Hong Kong International Film Festival, International Film Festival Rotterdam, London Film Festival, New York Film Festival, Media City Film Festival, Singapore International Film Festival, and Toronto International Film Festival. In 2010, he showed a series of 8mm and 16mm films at MoMA P.S.1 Contemporary Art Center, and his film installation, Building 945, received the 2008 Grant from the Museum of Contemporary Cinema in Spain. He currently teaches in Cinema Department at Binghamton University.<\/span><\/p>\n

                 <\/p>\n

                \u2726 \u8ca2\u6c83<\/strong><\/span>\u30fb\u5c3c\u723e\u68ee Gunvor Nelson<\/strong><\/p>\n

                 <\/p>\n

                \u8ca2\u6c83<\/span>\u30fb<\/span>\u5c3c\u723e\u68ee\u66fe\u5c31\u8b80\u65bc\u65af\u5fb7\u54e5\u723e\u6469\u5927\u5b78\u85dd\u8853\u3001\u5de5\u85dd\u8207\u8a2d\u8a08\u5b78\u9662\uff081950 \u5e74\u81f3 1951 \u5e74\uff09\u548c\u8c9d\u514b\u66fc\u8a2d\u8a08\u5b78\u9662\uff081952 \u5e74\u81f3 1953 \u5e74\uff09\u3002 1953\u5e74\u79fb\u5c45\u7f8e\u570b\uff0c\u5c31\u8b80\u6d2a\u5821\u5dde\u7acb\u5b78\u9662\uff081954-57\u5e74\uff09\u3001\u820a\u91d1\u5c71\u85dd\u8853\u5b78\u9662\uff081957\u5e74\uff09\u548c\u5967\u514b\u862d\u7c73\u723e\u65af\u5b78\u9662\uff081957-58\u5e74\uff09\u3002\u5979\u7562\u696d\u5f8c\u7372\u5f97\u4e86\u7e6a\u756b\u5c08\u696d\u7684\u85dd\u8853\u78a9\u58eb\u5b78\u4f4d\u3002\u5728\u5b78\u9662\u88e1\uff0c\u5979\u9047\u5230\u4e86\u7f85\u4f2f\u7279\u00b7\u5c3c\u723e\u68ee (Robert Nelson)\uff0c\u4e26\u65bc 1958 \u5e74\u7d50\u5a5a\u3002 1965 \u5e74\uff0c\u5979\u8207\u591a\u863f\u897f\u5a01\u5229 (Dorothy Wiley) \u5408\u4f5c\u51fa\u6f14\u96fb\u5f71\u300a\u65bd\u5bc6\u723e\u5ca1\u8328\u300b(Schmeerguntz)\uff0c\u9996\u6b21\u4eae\u76f8\u96fb\u5f71\u754c\u3002 1969 \u5e74\u81f3 1970 \u5e74\u5728\u820a\u91d1\u5c71\u5dde\u7acb\u5927\u5b78\u4efb\u6559\uff0c1970 \u5e74\u81f3 1992 \u5e74\u5728\u820a\u91d1\u5c71\u85dd\u8853\u5b78\u9662\u4efb\u6559\u3002 1993\u5e74\u642c\u56de\u745e\u5178\u4e26\u958b\u59cb\u5275\u4f5c\u5f71\u50cf\u548c\u88dd\u7f6e\u65b0\u4f5c\u54c1\u3002\u7372\u5f97\u7121\u6578\u91cd\u8981\u734e\u9805\u548c\u8cc7\u52a9\uff0c\u6700\u8fd1\u4e00\u6b21\u662f\u745e\u5178\u85dd\u8853\u8cc7\u52a9\u59d4\u54e1\u6703\u5927\u734e\uff082006 \u5e74\uff09\u3002\u5979\u7684\u96fb\u5f71\u66fe\u5728\u7d10\u7d04\u73fe\u4ee3\u85dd\u8853\u535a\u7269\u9928\u3001\u65af\u5fb7\u54e5\u723e\u6469\u73fe\u4ee3\u85dd\u8853\u535a\u7269\u9928\u4ee5\u53ca\u6b50\u6d32\u548c\u5317\u7f8e\u7684\u96fb\u5f71\u8cc7\u6599\u9928\u653e\u6620\u3002 2008\u5e74\uff0c\u7d0d\u723e\u905c\u7372\u5f97\u745e\u5178\u85dd\u8853\u8cc7\u52a9\u59d4\u54e1\u6703\u9812\u767c\u7684\u85dd\u8853\u5bb6\u7d42\u8eab\u6536\u5165\u4fdd\u969c\u3002<\/span><\/p>\n

                 <\/p>\n

                Gunvor Nelson studied at University College of Art, Craft and Design (1950-51) and at Beckmans College of Design (1952-53), both in Stockholm. Moved to the USA in 1953 and studied at Humboldt State College (1954-57), San Francisco Arts Institute (1957) and Mills College in Oakland (1957-58). She graduated with an MFA in painting. At the Institute she met Robert Nelson whom she married in 1958. Film debut with Schmeerguntz in 1965, co-made with Dorothy Wiley. Teaching positions at San Francisco State University 1969-70 and San Francisco Art Institute 1970-1992. Moved back to Sweden in 1993 and began creating new work in video and installation. Numerous major awards and grants, most recently the Swedish Arts Grants Committee’s Grand Award (2006). Her films have been screened at major art museums as MOMA in New York, Moderna Museet in Stockholm and cinematheques in Europe and North America. In 2008 Nelson was awarded an artists lifetime income guarantee by the Swedish Arts Grants Committee.<\/span><\/p>\n

                 <\/p>\n

                \u2726\u00a0\u83ab\u7433<\/strong><\/span>\u30fb\u585e\u723e\u4f0d\u5fb7 Maureen Selwood<\/strong><\/p>\n

                 <\/p>\n

                \u83ab\u7433<\/span>\u30fb<\/span>\u585e\u723e\u4f0d\u5fb7\u662f\u4e00\u4f4d\u8996\u89ba\u85dd\u8853\u5bb6\uff0c\u5176\u5275\u4f5c\u7bc4\u570d\u5ee3\u6cdb\uff0c\u6d89\u53ca\u88dd\u7f6e\u3001\u8868\u6f14\uff0c\u5c24\u5176\u662f\u52d5\u756b\uff0c\u5979\u5275\u4f5c\u4e86\u5927\u91cf\u5177\u6709\u958b\u5275\u6027\u7684\u4f5c\u54c1\uff0c\u9019\u4e9b\u4f5c\u54c1\u751f\u52d5\u6d3b\u6f51\uff0c\u5145\u6eff\u6eab\u67d4\u800c\u89aa\u5bc6\u7684\u8a69\u610f\u3002\u585e\u723e\u4f0d\u5fb7\u7684\u52d5\u756b\u96fb\u5f71\u901a\u5e38\u805a\u7126\u65bc\u6545\u4e8b\u3001\u8a18\u61b6\u548c\u5922\u60f3\uff0c\u91cd\u65b0\u5efa\u69cb\u548c\u7a81\u51fa\u5973\u6027\u7684\u4e3b\u89c0\u6027\u548c\u7d93\u9a57\uff0c\u63a1\u7528\u591a\u7a2e\u6280\u8853\u548c\u7d0b\u7406\u4f86\u5c55\u793a\u5979\u5c0d\u7dda\u689d\u3001\u8272\u5f69\u548c\u52d5\u4f5c\u7684\u9ad8\u5ea6\u6292\u60c5\u548c\u7368\u7279\u7684\u500b\u4eba\u65b9\u5f0f\u3002\u8d85\u73fe\u5be6\u4e3b\u7fa9\u7684\u9a5a\u559c\u548c\u5e7d\u9ed8\u6642\u523b\u8207\u5931\u843d\u3001\u60b2\u50b7\u3001\u62b5\u6297\u548c\u8ce6\u6b0a\u7684\u4e3b\u984c\u76f8\u7d50\u5408\uff0c\u7522\u751f\u4e86\u4e00\u7a2e\u4ee4\u4eba\u96e3\u5fd8\u7684\u96fb\u5f71\u611f\uff0c\u5b83\u4ee5\u6975\u5927\u7684\u610f\u8b58\u548c\u7f8e\u611f\u5c07\u8907\u96dc\u7684\u60c5\u611f\u548c\u610f\u8b58\u5916\u5316\uff0c\u5f9e\u800c\u7522\u751f\u4e86\u6df1\u523b\u7684\u5171\u9cf4\u3002<\/span><\/p>\n

                 <\/p>\n

                Over her wide-ranging career as a visual artist working in installation, performance, and particularly animation, Maureen Selwood has created a pioneering body of work that is vividly evocative and marked by a tender and intimate poetry. Often focusing on stories, memories, and dreams that reframe and foreground women\u2019s subjectivity and experience, Selwood\u2019s animated films employ multiple techniques and textures to showcase her highly lyrical and unmistakably personal approach to line, color, and movement. Surrealist moments of surprise and humor combine with themes of loss, grief, resistance, and empowerment, resulting in a memorable cinematic sensibility that is deeply empathetic as it externalizes complex emotions and consciousness with great awareness and beauty.\u00a0 <\/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 \u7f8e\u6b50\u5be6\u9a57\u52d5\u756b\u7d93\u5178\uff08\u8cb3\uff09\uff1a\u91cb\u653e\u904e\u7a0b\uff0d\u77ed\u7247\u9078\u96c6 American […]<\/p>\n","protected":false},"author":4,"featured_media":13589,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[210,219,20,7,39,17],"tags":[],"class_list":["post-13588","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\/13588","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=13588"}],"version-history":[{"count":3,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/posts\/13588\/revisions"}],"predecessor-version":[{"id":13599,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/posts\/13588\/revisions\/13599"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=\/wp\/v2\/media\/13589"}],"wp:attachment":[{"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13588"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=13588"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.glt.org.tw\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=13588"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}