國影電影編號：M202304013

放映規格：DCP

級別：保護級

片長：32分鐘

發音：無對白

字幕：無字幕

★ 各場次均由張徐展導演出席映後座談 Post-screening talk with director Zhang Xu Zhan.

熱帶複眼

Compound Eyes of Tropical

張徐展 ZHANG XU Zhan｜台灣 Taiwan｜2022｜DCP｜Color｜17min

2022 金馬獎最佳動畫短片 Best Animated Short, Golden Horse Awards

動畫受到台灣藝陣動物扮裝的祭典做靈感啟發，原作改編自東南亞的民間故事「鼠鹿過河」藉由裝扮者的肢體表演，穿梭在人與動物之間的形象，重新翻演民間故事的過河情境，在改編共有的世界母題故事裡，帶領觀眾透過蒼蠅的眼睛，複眼的視角，穿梭於文本的多重面貌，探索世界文化的流動、身份、在地性與世界性交互相通的寓意。

The film is inspired by the costumes of "folk parade" performers from Taiwan's ceremonial festivals. Originally adapted from the Southeast Asian folktale The Mouse Deer Crosses the River, the work integrates similar folklore narratives from different countries to create the half-mouse deer, half-fox shaman puppet dancer in the animation. The dancer switches back and forth between human and animal, using his wit to fool the crocodiles in the river, in an attempt to reach the other side.

Si So Mi

Si So Mi

張徐展 ZHANG XU Zhan｜台灣 Taiwan｜2017-2018｜DCP｜Color｜5min

2018 金馬獎最佳動畫短片入圍 Nominated for Best Animated Short, Golden Horse Awards

從街道上看見的扁老鼠屍體出發，透過收集動物在城市生存裡各種死亡事件的動作姿態，將之轉換成舞蹈，如溺水老鼠的水舞、開腸剖肚的彩帶舞。映照著自我的鏡子、生日用的派對道具、亡靈的同歸所、叢林演奏的喪葬儀隊，以及一本瀰漫著存在主義邏輯的荒謬日記。內容關於那些被晾在城市裡乾扁、卑微的動物，述說他們對自己生命的描述，同時思考著死亡與存在。

Death has been somewhat a taboo that most Taiwanese people prefer to avoid. Drawing inspiration from various death accidents commonly heard in a city, Zhang Xu Zhan recorded a song and used old newspapers as materials to turn puny, filthy and outcast lives in urban corners into paper figures, and choreographed a festive and absurd dance.

陰極射線管的神秘儀式

Ritual of Cathode Ray Tube

張徐展 ZHANG XU Zhan｜台灣 Taiwan｜2011-2013｜DCP｜B&W｜5min

2014 金穗獎一般作品獎-優等獎 Honorable Mention, Outstanding Short Films, Golden Harvest Awards

2012 台北數位藝術節「第二自然」－「台北數位藝術獎」首獎作品 First Prize, Digital Art Festival Taipei

《陰極射線管的神秘儀式》將電視介面傳遞電子光學顯像傳至肉眼的時間，視為一種輪迴儀式，影像的螢幕被視為一種可以穿透介面空間的媒體樂譜，藉由穿透介面回到媒體現場，一場充滿詭異憤慨、荒誕輿論的迷亂神情。影像中的舞台放置了大量由舌肉延展的符號密碼，以建構影像的慾望世界，由撕開真實性的CRT螢幕開始，流竄的訊號、提問影像真實的類比掃描線、再生的介面、空間升降的舌苔、舌肉指揮棒，而所有的一切從被撕裂的電子設備「陰極射線管」開始...

This experimental animation work draws the image in multiple angles, and the video is split into five different viewpoints. The images are projected with the same angles and distances into the space to connect them together. It creates a sense of LIVE or SNG (Media news gathering) style of reporting with multiple "live times" to interpret the simultaneous narratives in the image.

影像日誌 no.1-no.19

Animation daily series no.1-no.19

張徐展 ZHANG XU Zhan｜台灣 Taiwan｜2012-2015｜DCP｜B&W｜5min

本片是於不同區域進行「現地製作」的動畫計畫，由數個極短篇單頻道動畫錄像組成，作品初始的製作模式是試著翻轉電影動畫工業中流程化且費時的製作方式，去除制式化的生產模式，以「不預先繪製」腳本、故事、角色、敘事設計等前置作業，而是於駐地區域，隨意識現場取材，將駐地空間發生中的「真實事件 或 人、物」直接挪至動畫中作為影像題材，以動畫的方式記錄奇想，將駐地觀察的事物，濃縮成期間發生的極短篇動畫劇場。

Using 26 days collecting 26 clues, selecting 13 from an in-store observation of readers, recording the natural occurrence of phenomena inside the bookstore. Made into 13 short mini-dramas, the series attempts to incorporate the recorded footage into animation, using the latter to create fantastical effects within the semi-realistic scenario.