國影電影編號：M2025_12_09

放映規格：DCP﹑16mm

級別：普遍級

片長：80分鐘

發音：國語、阿美族語﹑無對白

字幕：中英、無字幕

☆ 映前導聆 Pre-screening intro

台灣實驗者之電影修行（貳）：守光者－短片選集

Taiwan Experimenters (ii): The Light Keepers

1. 顯影 Developing

許岑竹 Tsen-Chu HSU

Taiwan ｜ 2021 ｜Video ｜ Color ｜ Silent ｜ 8min

這是一個小小的實驗影片，透露視覺和時間說好的秘密，將反轉片膠卷在藥水中漸漸 顯影的過程，以模擬和想像的方式呈現出來。

This is a small experiment in revealing the secret of vision and time. It simulates the hidden process of reversal film, which gradually develops its images in darkness under water.

2. 滿妹 Man Mei

謝祥安 Caitlin "Sonny" SHIEH

Taiwan ｜ 2025 ｜ Video｜ Color ｜ Sound ｜ 30min

滿妹，一位客家女性，出生於日治時期的苗栗農村，她的人生橫跨一個世紀，映照著臺灣百年轉變的脈動。

Man Mei, a Hakka woman born in a Miaoli farming village during the Japanese colonial era, carries a life that spans a century and traces the shifting currents of Taiwan's transformation.

3. 土星頻道 (((O)))

林仕杰 Shih-Chieh LIN

Taiwan｜ 2022 ｜ Video｜ Color ｜ Sound ｜ 25min

貪睡鬧鐘叫不醒貪睡之人，鈴聲於是變成一種催眠訊號，所有聲音在半夢半醒中重新定義，只有夢遊者能重獲自由：從叫號系統、電動機車到防空警報、群眾抗爭⋯⋯聲響從日常的軟土中解放，生長出新的景觀。每個人手中都握著船票，所有睡不醒的人都一同乘著迷航的船，駛入頻率投射出的新世界。

A snooze alarm clock cannot wake a sleepy person. The bell of the alarm clock hence becomes a hypnotic trigger. Such an ordinary sound is redefined in our drowsy moments, and we are also liberated from the sounds that condition our lives—queue management systems, electric scooters, air raid drills, and public demonstrations. These sounds are released from the soft soil of our consciousness and grow into a new scene. And we sail with those who cannot be awakened on a boat drifting off course into a new realm projected by frequency.

4. 港口部落的護靈者 The Spirit Keepers of Makuta'ay

林延昭 Yen-Chao LIN

Taiwan/Canada ｜ 2018 ｜ S8mm to digital｜ Color ｜ Sound ｜ 10min 57sec ｜ 中英字幕

《港口部落的護靈者》為林延昭於 2018 年在花蓮大港口駐村時所拍攝的作品，講述關於民間傳統宗教和個人心靈歸宿。「Makuta'ay」為阿美族語，有溪水混濁之意；如同位於緊鄰秀姑巒溪的港口部落，這些歷經殖民、人口遷徙以及融合天然地形，所形成的獨特又富有靈性的地方。透過記憶的故事和相異的宗教習俗，找尋個人與族人的精神禱告儀式。作品使用八釐米拍攝並經由手工沖洗，影片中不時出現經由底片所產生出的特殊感觀，這些畫面打開了那些既像縮影亦像繪畫般幽微的精神層面。

Shot on location in the traditional Amis territory, The Spirit Keepers of Makuta'ay travels through villages on the east coast of Taiwan, where nature, colonization and population migration merge to create a unique spiritual landscape. The hand-processed Super 8mm film unravels mixed faith expressions from Daoist ritual possession to Presbyterian funeral, from personal prayers to collective resistance, all the while attempting to trace the memories of past Amis sorcerers.

5.（男孩）轉世 INCARNATION (BOY)

吳俊輝 Chun-Hui WU

Taiwan ｜ 2003 ｜ 16mm｜ Color ｜ Silent ｜ 6min

2003年美國重要實驗電影創作者史坦．布拉克基過逝，引發他想以布拉克基的經典作品《蛾影》，一部在透明的電影膠卷上拼貼花瓣及植物以產生蝶蛾紛飛的奇妙影像的無攝影機電影作為創作形式，延續這樣的前衛精神去創作一部電影《（男孩）轉世》來向布拉克基致敬。從電影剪接室的垃圾桶中撿拾被人遺棄的電影膠卷，然後將花園裡現摘的花瓣葉片黏貼在膠卷上，原先被棄置膠卷上的男孩影像經過再製而被重新賦予轉世生命，就像在重新凝視與省思機械複製開端時代的文明。

Incarnation (Boy) evokes the ghosts from Stan Brakhage's Mothlight. Boy images incarnate from found-footage film corpse. Boys and incarnation (boys) gaze at each other. March 2003, I received emails from fellow filmmaker friends, telling me that the experimental filmmaker Stan Brakhage just passed away. Brakhage, I can't forget about him. I can't forget about those youthful years when I started to view his films; I was so stunned and enlightened. His Mothlight is the one made without a camera, but with petals and leaves glued on clear leader, made by Brakhage's own hands. Along his hands with petals and leaves through cinematic lights, the film creates beautiful and magic illusion. June 2003, I stayed upstate in New York. I plucked petals on campus and glued them on the deserted found-footages that were collected from the trash cans in the editing room. On the found-footages there was an unknown boy, and his shadow, his in/out movements and his eyes stare. The plucked flowers then ghostly awoke the boy's soul into a whole new incarnation. Natural and organic plant mingled with the illusion of the boy, passing through different cinematic space (surfaces of film strips, three-dimensional plants, negative and positive images, illusionary space of film). Incarnation (Boy) is optically printed and reprinted into negative and positive images. Two images, negative and positive will be double projected together. This form echoes the history of experimental filmmaking, and, at the same time, pays homage to the master Stan Brakhage.

關於導演 About the filmmakers：

許岑竹 Tsen-Chu HSU

美國舊金山藝術學院電影創作碩士，熱愛探索電影與手工藝的結合。多年從 事電影教育工作，專注電影與其它藝術形式的跨領域關聯。

Tsen-Chu Hsu received her MFA in Film at the San Francisco Art Institute. She is an experimental filmmaker and devoted to exploring the intersection of handcrafting and filmmaking. She also works as a film educator focusing on film arts and film preservation.

謝祥安 Caitlin "Sonny" SHIEH

謝祥安（b. 1991）是一位美臺影像創作者，她的作品透過影像探索記憶、性別與國族認同的交錯，並反思個人與集體歷史的流動性。

Caitlin 'Sonny' Shieh (b. 1991) is a US- and Taiwan-based video artist whose work explores the intersections of memory, gender, and national identity through moving images, reflecting on the fluidity of personal and collective histories.

林仕杰 Shih-Chieh LIN

美國加州藝術學院電影與錄像研究所畢業，電影創作者及藝術家。常以記憶作為母題，由日常語境中的象徵來探索不同時間維度中的意識，運用聲畫錯位來重組感官經驗。近期多以電影作為原型，連結表演藝術、音樂、展演等跨領域合作。

Lin Sanmu is a filmmaker and audiovisual artist based in Taipei. He earned an MFA in Film and Video from California Institute of the Arts. His practice spans experimental film, documentary, and sound, with a focus on synchresis—displacing and re-arranging sound and image, sometimes playfully, to reveal everyday symbols through another layer of subjective consciousness. Through this process, he opens pathways into the realms of memory and dreams. He approaches each act of cinema as the making of a prototype, continually renewing its experimental spirit through cross-disciplinary collaboration.

林延昭 Yen-Chao LIN

林延昭是台北出生，定居蒙特婁的跨領域藝術家，她的創作探索記憶與歷史的殘留痕跡。自十三歲從台北移居蒙特婁以來，延昭一直在作為台灣人和加拿大有色人種的移居者這兩個雙重身分之間徘徊。她的作品經常探討文化遺產與個人幽靈學的交互關係，範圍涉及宗教、能量、占卜、堪輿學（占卜杖探尋水源／礦脈）、煉金術、民間傳說以及被遺忘的傳統儀式。作為一個自然歷史愛好者和積極的收藏家，林延昭蒐集來自礦物、植物、動物和工業的標本。透過直覺的主導、合作、尋覓和收集，她的作品常常結合多種工藝技術，如珐琅、金工和玻璃；創造出裝置藝術、雕塑和實驗電影。 延昭曾在多個機構公開發表，包括溫哥華國際當代亞洲藝術中心 Centre A、GAX 亞洲原住民當代藝術（蒙特婁）、PHI 基金會（蒙特婁）等。 她的作品曾在多個場地展出，包括柏林影展（Berlinale）、鳳甲美術館（Hong-gah Museum，Taipei）、蒙特婁當代藝術博物館（Musée d'art contemporain de Montréal）、OBORO（蒙特婁）、SAVVY Contemporary（柏林）等。

Yen-Chao Lin is a Taipei-born Montreal-based multidisciplinary artist. Having grown up in a multifaith family, she is interested in religion, spirituality, divination arts, dowsing, occult sciences, alchemy, Feng Shui, oral tradition, and power - everything that can be sensed, but not necessarily seen. As a natural history enthusiast and an avid collector, Yen-Chao gathers specimens of mineral, botanical, animal and industrial origins, including objects that stare at the vestiges of a recent or distant past, with a story to tell. Through means of intuitive play, collaboration, scavenging and collecting, her tactile practice often incorporates various craft techniques, such as copper enameling, ceramic, textile, and gilding; creating installations, sculptures, and experimental films.

Yen-Chao has been invited to give public presentations at Artexte (Montreal), Centre A (Vancouver), GAX Asian Indigenous Relations in Contemporary Art (Montreal), PHI Foundation (Montreal), among others. Her works have been shown at Art Metropole (Toronto), Berlinale, Edinburgh International Film Festival, Hong-gah Museum (Taipei), Musée d'art contemporain de Montréal, OBORO (Montreal), SAVVY Contemporary (Berlin), SBC Gallery of Contemporary Art (Montreal), among others.

吳俊輝 Chun-Hui Tony WU

長期在台灣致力於實驗電影的創作、研究、教學、推廣與國際交流。紐約巴德學院米爾頓．艾佛利藝術研究所藝術創作碩士。舊金山藝術學院藝術創作學士。作品以現成影像重製、跨電影規格、電影與數位材質的整合、跨領域藝術觀念創作的實驗探索與實踐為創作主軸，擅長運用舊有的電影膠卷、影像資料檔案，使其作為介質以重新省思檢視自我、影像媒介與歷史的關係，進而重新翻轉影像媒體、媒材與電影史的定位。作品曾於紐約現代美術館、巴黎龐畢度中心放映。曾於美國舊金山、紐約、馬來西亞吉隆坡、南韓首爾舉辦個人電影展。2006台北雙年展「（限制級）瑜珈」、2012年台北雙年展「現代怪獸／想像的死而復生」參展藝術家。《感傷之旅》獲2003年台北電影節台北電影獎最佳實驗片獎；《諾亞諾亞》獲2004年台北電影節台北電影獎最佳實驗片獎與金穗獎優等影片獎。EX!T台灣國際實驗媒體藝術展策展人從2010年至今。2013年出版《比台灣電影更陌生—台灣實驗電影研究》。2015年出版《台灣以左，亞洲之右—實驗電影的亞洲實踐與研究》。

Dedicated to the making, studying, teaching and advocacy of experimental film in Taiwan, and promotes exchange of this kind with the international community. He received his BFA with a major in Filmmaking at San Francisco Art Institute and MFA in Film/Video, Milton Avery Graduate School of the Arts, Bard College, New York. His experimental films experiment with and explore new concepts of found footage filmmaking, film reproduction, cross-film formats, and the integration of film and digital media within interdisciplinary art. They are adept at utilizing existing film celluloid and archival images, serving as channels for reconsidering the relationship between self, medium, and history. Through this process, they redefine the positioning of visual media, film material, and film history. His films have been shown at the Museum of Modern Art in New York, Centre Pompidou in Paris, San Francisco Cinematheque, and Robert Beck Memorial Cinema in New York etc. He has held solo film exhibitions in various locations including San Francisco and New York in the United States, Kuala Lumpur in Malaysia, and Seoul in South Korea.

He is a program director for EX!T -Experimental Media Art Festival in Taiwan. He publishes "Stranger than Cinema: A Study of Taiwanese Experimental Film" in 2013 and "West of Taiwan, East of Asia – A Study of Asian Experimental Film" in 2015.