|
|
|
|
/ 林易澄 |
|
Touching from a Distance:《控制》Control
|
|
出品:2007
發行:原子映象
|
|
|
「搖滾樂的一面是傳說,另一面是真實,有時我們更願意記得前者。」
在接下這部傳記電影《控制》的時候,安東寇本(Anton Corbijn)一定想起了 Tony Wilson 對於《二十四小時狂歡派對》(24 Hour Party People, 2002)的評論。每一位搖滾電影的導演,或許都曾徘徊在那道邊界之上,回想第一次將那片單曲帶回家時,在那些聲音中見到的光暈,以及在那聲音的漩渦底下日常生活的肌理。 |
|
|
|
|
/ 張雅倫 |
|
|
【電影新訊】2008「城市遊牧影展」酷炫登場! |
極具另類特色的「城市遊牧影展」將在4月25日星期五至5月2日星期五在台北藝術村開展!一次八天,每天三個小時,每晚播映一支長片及一系列的短片,絕對不可以錯過。今年的「城市遊牧影展」片單較以往更為多元。來自英國的《性變態的電影異想世界》令不少齊澤克(Zizek)的讀者與影迷期待,等著與這位斯洛維尼亞籍的哲學/文化/電影理論家一起回顧經典影片的拍攝場景。另外還有來自美國的《誰是Bozo Texino? 》、《企業人格診斷書》、《夢遊穿越湄公河》,來自中國的《亞洲搖滾樂的惡夢》、《自由城的囚徒》、《我雖死去》、《美美》... |
|
|
|
|
|
|
/ 王筑筠 |
|
|
【電影觀點】什麼是幸福?─ Agnès Varda的《幸福》﹙Le Bonheur, 1965﹚ |
丈夫在一個不預期的情形之下開始了與另一個女人的戀愛。他們第一次約會時,透過他的主觀鏡頭,我們發現幾個不起眼的店家掛牌上的文字竟然寫了「la tentation」(誘惑)和「le mystere」(神秘),默默地反映出這個男子對眼前的陌生女子充滿了好奇與渴望。與這名女子分別之後,丈夫望著的巨大廣告看板,上頭的文字竟寫著「j’aime」,法文中的意思是「我愛」。令我我感到奇怪的是,為何不是寫著「我愛你」(je t’aime),也不是「我愛她」(je l’aime),更不是「愛情」(l’amour),卻只是「我愛」? |
|
|
|
|
|
|
/ 曾芷筠 |
|
|
重疊的女人:《珍愛來臨》Becoming Jane |
Mr. Austin: If a woman happens to have a particular superiority, for example, a profound mind is best kept a profound secret. Humor is liked more, but wit, no.
------------------
Lefroy: “Swifts on a fine morning in May. Flying this way, that way. Sailing around at a great height perfectly happily. Then, one leaps onto the back of another, grasps tightly. And, forgetting to fly they both sink down and down in a great dying fall fathom after fathom until the female utters a loud piercing cry of ecstasy.” Is this conduct commonplace in the natural history of Hampshire?
Jane: ……
Lefroy: Your ignorance is understandable since you lack what we call it? The history.
Jane: Propriety commands me to ignorance.
Lefroy: Condemns you to it. And your writing to the status of female accomplishment. If you wish to practice the art of fiction to be the equal of a masculine author, experience is vital.
Jane: I see. And what qualifies you to offer this advice?
Lefroy: I know more of the world.
-------------------
Jane: But if our love destroys your family it will destroys itself. In a long, slow degradation of guilt and regret and blame. That is truth made from contradiction, but it must come with a smile.
|
|
|
|
|
|
|
|