國影電影編號：M2025_12_10

放映規格：DCP

級別：普遍級

片長：72分鐘

發音：英語﹑無對白

字幕：中字、無字幕

★ 劉易斯克拉爾（拼貼電影藝術家）、劉行欣（EX!T15 策展人, 電影導演與藝術家）出席映後座談 Post-screening talk with Lewis Klahr and Cherlyn Liu Hsing-hsin

聚焦影人：白銀時代－劉易斯・克拉爾 9 部精選電影

Filmmaker in Focus: The Silver Age – 9 Selected Films by Lewis Klahr

1. 牽牛星 Altair

USA ｜ 1995 ｜ 16mm to digital｜ Color ｜ Sound ｜ 8min

這無疑是我拍過的最美的電影，也可能是最受歡迎的電影。

最初我打算用黑白膠卷拍攝《牽牛星》，但我太喜歡原始素材的色彩，所以決定改用彩色。這使得最終的電影看起來更像是一部情節劇，而不是黑色電影。這些圖片是從二十世紀四十年代末期的六期《時尚》雜誌中精選出來的，並配上斯特拉文斯基的《火鳥》中近四分鐘的片段（循環兩次），營造出一個陰森而芬芳的世界。正如我在 1988 年接觸這個類型的作品《蟋蟀之月》一樣，故事敘述非常模糊，只留下較大的女性主角故事路標可以辨認。鼓勵觀眾推測這位女性與強大的惡毒社會力量鬥爭的性質和細節，以及她陷入酗酒狀態的過程。然而，值得注意的是，以上所有內容都只是發現性的編輯。 在這部電影的大部分即興拍攝過程中，最激發我靈感的是對藍色的迷戀，以及它對我而言與我想像中的 20 世紀 40 年代戰後美國所具有的偉大的解脫開放感之間的某種難以言喻的聯繫。

《牽牛星》在 1995 年惠特尼雙年展和紐約影展中都受到廣泛關注。它已被紐約現代藝術博物館購買作為其永久收藏。

Certainly the most beautiful film I've ever made and possibly the most beloved.

Originally I was going to shoot Altair in B&W 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's "Firebird" (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’s 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. 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's.

Altair 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's Museum of Modern Art for their permanent collection.

2. 鬼影光圈 The Aperture of Ghostings

USA ｜ 1999-2001 ｜ 16mm to digital｜ Color ｜ Sound ｜ 13min

此三部曲包括 A trilogy that includes：

艾爾莎・柯克 Elsa Kirk (1999) 5:18

凱瑟琳街 Catherine Street (2001) 3:11

皺巴巴的長袍微笑 Creased Robe Smile (2001) 4:36

1990 年代中期，我在紐約市東村的一家舊貨店裡發現了這三部電影的攝影底片。其中只有一張底片上標註了姓名和日期：「艾爾莎・柯克，1963 年 2 月 22 日」，上面有這位天真無邪的模特女演員的 12 張照片。另外兩張底片上也有 12 張照片，但沒有姓名和日期。雖然我被這些照片中強烈的虛構感和紀實感深深吸引，但一開始，我無法將它們轉化為拼貼動畫。因此，我改變了通常的製作流程，開始對這些紙張進行複印放大，並將其作為一系列二維拼貼畫的背景。漸漸地，這些都變成了電影的故事板，並引導我創作出一種象形文字蒙太奇風格的肖像畫，這種方法是我在二十年前第一次被剪輯的潛力所吸引時就直覺地想到的，但從未能夠在電影中捕捉到。

——劉易斯・克拉爾

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. 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.

-- Lewis Klahr

3. 1980 年春季 Spring '80

USA ｜ 1980 ｜ S8mm to digital｜ Color ｜ Silent ｜ 3min 26sec

在相機日記電影中完全編輯的影片大部分都是在超八毫米上拍攝的單幀（一卷 Ektachrome G，適合日光和人造光拍攝）。

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).

4. 假衰老 False Aging

USA ｜ 2008 ｜ Video｜ Color ｜ Sound ｜ 14min 45sec ｜中文字幕

「很難相信《虛假衰老》的片長不到 15 分鐘，因為它強烈地喚起了人們對過去的幾十年的回憶，而這些回憶中充滿了渴望和遺憾。一個按鈕圍繞著時鐘旋轉——世界隨之移動。克拉爾與約瑟夫・康奈爾一樣具有煉金術天賦，但他拼貼的幻想投下了更深的陰影，並沒有任何神奇的保護娃娃並避免死亡。」

—— 克里斯汀瓊斯（Kristin M. Jones），《電影評論雜誌》，2009 年 1 月/2 月，《未知的領域：來自世界各地的未知的樂趣》（2008 年最佳影片匯總）。

"It's hard to believe that False Aging 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 The Valley of the Dolls, Jefferson Airplane, and Lou Reed and John Cale's Songs for Drella. 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."

— Kristin M. Jones, Film Comment Magazine, January/February 2009, Terra Incognita: Unknown Pleasures From Around the World (a roundup of the best films of 2008).

5. 四輪神 Four Wheel Gods

USA ｜ 2024 ｜ Video｜ Color ｜ Silent ｜ 2min 5sec

此般顏色配上 20 世紀 60 年代早期的美國汽車。對我來說這是一份令人欣喜的清單。對你而言？

Color and early 1960's American cars. For me an ecstatic list. For you?

6. 兩分鐘後歸零 Two Minutes to Zero

USA ｜ 2003 ｜ Video｜ Color ｜ Sound ｜ 1min

一部長篇犯罪電影的故事被省略地塞進了 60 秒的放映時間。

音樂由已故的偉大音樂家格倫・布蘭卡創作——摘錄自他的吉他交響曲《升天》。

由鹿特丹國際電影節委託製作。

The story of a feature length crime film elliptically jammed into 60 seconds of screen time. Music by the great, late Glenn Branca-- an excerpt from his guitar symphony The Ascension. Commissioned by the International Film Festival Rotterdam.

7. 白銀時代 The Silver Age

USA ｜ 2015 ｜ Video｜ Color ｜ Sound ｜ 9min

這是我的長片系列《六十六》（2015 年，90 分鐘）的 12 部獨立短片中的一部​​，也是其中的一個重要章節。

《白銀時代》描繪的洛杉磯充滿了色彩繽紛的人物——典型的漫畫書中的罪犯和偵探——漂浮在標誌性建築照片的黑白輝煌中：我童年時想像中的洛杉磯現在感覺就像希臘神話一樣古老。

One of the 12 individual short films that is a climactic chapter of my feature length series Sixty Six (2015, 90m).

The Silver Age 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.

8. 投降承諾 Capitulations Promise

USA ｜ 2020 ｜ Video｜ Color ｜ Sound ｜ 6min 34sec

我花了五年時間完成這部電影——這是我最近的長篇系列《忘憂藍玫瑰》的「熱門單曲」。然而，當我選擇使用 Lana Del Ray 的《蜜月》這樣一首令人難忘的流行歌曲作為配樂時，這種難度程度正是我所預料到的。這種音樂吸引我的地方在於它聽起來既新又舊，讓我能夠將當代意象與我的電影所聞名的 20 世紀中期素材結合。 《蜜月》聽起來也像是一部不存在、也永遠不會存在的詹姆士龐德電影的危險浪漫主題曲。

It took me 5 years to complete this film– the "hit single" from my recent feature length series The Blue Rose of Forgetfulness. This degree of difficulty is just what I expected, however, when I chose to use such a memorable pop song as Lana Del Ray's "Honeymoon" 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. "Honeymoon" also sounds like the dangerously romantic theme song to a James Bond film that has not and will never exist.

9. 距離明天五天 5 Days Till Tomorrow

USA ｜ 2022 ｜ Video｜ Color ｜ Sound ｜ 13min 20sec

《距離明天五天》於 2015 年開始創作，並於 2022 年完成，它讓人聯想到永恆夢幻般的黃昏，描繪了一群奇幻漫畫人物在 20 世紀 70 年代未來主義建築景觀中睡覺、懶洋洋地等待著標題中所描述的漫長夜晚結束的場景。

這首音樂是由偉大的 Michael Pisaro-Liu 所創作的《Akasa》。

Begun in 2015 and completed in 2022, Five Days Till Tomorrow 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—described in the title—to come to its end.

The music is "Akasa" by the great Michael Pisaro-Liu.

關於導演 About the Filmmaker：

劉易斯・克拉爾（Lewis Klahr）自 1977 年起開始拍攝電影，先後使用 Super 8 毫米膠片、16 毫米膠片和數位膠片。他以其獨特的拼貼電影而聞名，這些電影利用發現的圖像和聲音來探索記憶和歷史的交匯。克拉爾的電影在美國、歐洲和亞洲廣泛放映，包括紐約現代藝術博物館、惠特尼雙年展（3 次）、紐約電影節、多倫多國際電影節、香港國際電影節、泰特現代美術館、蓬皮杜藝術中心、Redcat、MOCA 和洛杉磯郡藝術博物館。

2010 年 5 月，衛克斯納藝術中心舉辦了 5 場克拉爾電影回顧展。 2013 年 3 月，他的數位電影在電影博物館進行了周末回顧展，並在《藝術論壇》上發表了長達 8 頁的簡介／訪談。 MoMI 也於 2023 年 10 月舉辦了 3 場克拉爾作品回顧展。他的電影《星期三凌晨二時》榮獲2010年鹿特丹國際影展最佳短片虎獎。他的史詩級剪紙動畫《法老王的腰帶》於 1994 年榮獲美國國家電影評論家協會頒發的實驗作品特別獎。克拉爾的劇情長片《The Pettifogger》被《藝術論壇》雜誌評選為 2012 年度最佳電影之一。他還獲得了哥本哈根格倫內加德劇院（Lulu）和鹿特丹國際電影節（Two Minutes to Zero）等歐洲藝術組織的委託創作。 克拉爾的作品被永久收藏於紐約現代藝術博物館、Collecion Inelcom 以及各種私人收藏。

克拉爾的長篇系列《六十六》於 2015 年 12 月在現代藝術博物館首映，門票全數售罄。該片被《紐約時報》評論家馬諾拉·達吉斯（Manohla Dargis）評選為年度十大影片之一。 2016 年和 2017 年，《六十六》在美國、歐洲和亞洲的電影節、電影院和博物館進行了巡迴演出。

克拉爾是 2010 年衛克斯納藝術中心媒體藝術駐留獎得主、2013 年布拉哈格視覺獎得主、1992 年古根漢研究員，也曾獲得國家藝術基金會、紐約州藝術委員會、創意藝術家公共服務機構、傑羅姆基金會和創意資本的資助。

克拉爾現居洛杉磯，在加州藝術學院戲劇學院任教。

劉易斯・克拉爾的藝術作品由蘇黎世 Grieder Contemporary 代理。

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 – 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.

In May of 2010 The Wexner Center for the Arts presented a 5 program retropsective of Klahr's 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's work in October 2023. His film "Wednesday Morning Two A.M." was awarded a Tiger Award for Best Short Film at the 2010 International Film Festival at Rotterdam. His epic cutout animation "The Pharaoh's Belt" 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's work is in the permanent collection of the Museum of Modern Art in New York, Collecion Inelcom as well as various private collections.

Klahr's 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' 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.

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.

Lewis Klahr lives in Los Angeles and teaches full time in the Theater School of the California Institute of the Arts.

Lewis Klahr is represented by Grieder Contemporary, Zurich.