國影電影編號：M2025_12_08

放映規格：DCP

級別：保護級

片長：77分鐘

發音：國語、英語﹑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（壹）：表面的塵、底下的詩－短片選集

Taiwan Experimenters (i): Dust on the Surface, Poetry Beneath

1. 讀不到的詩 An Unreadable Poem

莊芷凡 Zhifan CHUANG

Taiwan ｜ 2008 ｜ 16mm to digital｜ Color ｜ Sound ｜ 1min 43sec

原是一首顧城的詩《一代人》。

影片中的文字在時間流動中，逐漸消失、分解、轉換，生長出原本意含之外，另一種影像詩歌。當文字再也無法辯讀之後，只留下單純流動的繪畫，還有底片上音軌殘留的聲音，沒有特別的意義卻充滿驚喜。

There are eight times repetitions of a poem in the film, which was originally written by a Chinese contemporary poet Gu Chen. In each repetition, the poem is gradually decomposed its meanings by the fragmentation of the Chinese characters until completely unreadable in the end. The fragmentations of characters intensify its unreadability, and in turn the poem takes on different meanings.

2. 蒸發書簡 Jouhatsu Letters

工藤雅 Masa Kudo & 張若涵 Johan Chang

Taiwan/Japan ｜ 2024 ｜Super8, Single8, 16mm transfer to digital｜ Color ｜ Sound ｜ 30min

疫情當中，日本和台灣的影像創作者互相引用對方送來的影像或聲音，開啟書信電影。兩人交換的心象風景與日常手工實驗，也如紙本信件般，夾雜生活與工作中累積、滲透、無法拭去的重量與污漬。透過媒材痕跡，兩人想像著彼此的日常，試圖以影像語言給予回應。與疫情共行的書信電影，仿若緣分般的圓，像是沒有終點般的持續發生著。

A back-and-forth correspondence between two filmmakers living in Tokyo and Taipei. These video letters began during the COVID-19 pandemic, when it was difficult for them to meet in person, and continued until 2024. The letters follow a simple rule: each reply must quote a sound or image from the previous letter. These quotations become loose threads connecting the letters, yet each one stands alone as a complete, self-contained world.

3. 待以名之的事物 The Unnamed

黃亞歷 Ya-Li HUANG

Taiwan ｜ 2010 ｜ 35mm transferred digital｜ Color ｜ Sound ｜ 10min 48sec

本片建基於影音間的詩性連結與非因果性邏輯，褪去物體的實用化、功能 性，觀照現實中事物的原初狀態，經由對微小細節的漸次感知，編織多重 的詩意想像。

This film is constructed upon the visual poetry between what you hear and see, and a sensual fluidity that is not based on the cause and effect relationship. It casts away the practicalities and the functionalities commonly defined in real-world objects by returning things to their raw state, and guiding the viewer’s awareness to the finer details, while intertwining layers of poetic imagery.

4. 伊人 Yi-Ren (the person of whom I think)

吳梓安 Tzu-An Wu

Taiwan ｜ 2015 ｜ S8mm to digital｜ Color ｜ Sound ｜ 13min 45sec

《伊人》是一封由多種素材拼貼而成的情書。使用素材如私人的超八毫米日記、卡拉OK伴唱帶、一些從邱剛健((1940-2013)的電影拾來的現成影像與詩、等等。本作亦是對邱剛健的致敬與酷兒歪讀，重組現成的詩句與影像，將借用的檔案影像（found footage）與私密的日記電影（dairy film）交融結合。或者，所有私密的經驗其實都是借來的……如同邱的詩句「我的叫聲裡也有我看過的好萊塢電影」所示，若非透過我們曾看過的電影，與演技，我們的情感將無法存在。

本作使用雙螢幕，操弄多種意象、形式與媒材的雙重性，形構影像間的對位關係，並利用影像的轉譯與變質，如數位與膠卷的轉換復返，媒材轉換間的隔代損差 （generation loss）。而材料的處理方式，亦如同情感的隱喻，是現成的、模仿的。花開花謝、撫摸與抓空的手、煙火、浮現而復散去的臉與人…… 透過影像與媒介間的再製與變造、與重覆，生成一段面目朦朧的敘事，對話：慾望主體與客體間的私語與失落。

Yi-Ren (can be vaguely translated to "the person of whom I think") is a collaged love letter made of various sources. Such as my super8 mm diaries, karaoke videos, and found-footage from Kang-Chien Chiu (1940-2013)’s films, and poems. It is also an act of homage and a queer reading of Chiu. Reassemble, manipulate the materials, and melt the ready-made and the personal into one. Or, maybe the personal emotions and experiences are actually all borrowed from someone and somewhere… As the line "my moans have a bit of Hollywood in them" suggests, our emotions would not exist without acting, or movies we have seen.

This double channel employed the duality of the forms, the images, and the media. They are played in counterpoints, and presented as a metaphor of the mechanism of our emotions. Like the generation loss came from transfer between digital and analogue film. The materials were handled as the ready-made affection. The flowers bloom and wither, the hands caress or grab the air, people pass through and the faces vanishes… Through reproducing and manipulating the lines and images, it generates a floating narrative, a murmur between the subject of lost and the object of desire.

5. 梵谷的耳朵 Van Gogh's Ear（最新 4K 數位拷貝台灣首映）

吳米森 Mi-Sen WU

Taiwan/USA ｜ 1995 ｜ 16mm to 4K digital｜ Color/B&W ｜ Sound ｜ 20min

《梵谷的耳朵》對我而言深具意義。它代表了一個創作的錨點，引導我三十多年藝術旅程的參照點。這部短片是我對聲音與影像、現實與想像之間相互作用的思考，以及我們感知和詮釋周遭世界的複雜方式探索的首航。

影像只是一種幻象的形式？這個世界世界中，一切都被精心製作、編輯，並按照特定模式編碼，轉變為可消費的影像和表徵。這種構建旨在維持我們對與現實連結的信心。繪畫作為一種藝術形式，儼然承認客觀世界在描繪中的缺席。相比之下，影像，尤其是電影中的影像，利用了人類「視覺的瑕疵」（視覺暫留）肯定了我們短暫的存在，透過接受我們在這個世界中瞬息的存在來揭示自我。

大多數人傾向於將想像的世界視為與真實世界分離，然而這兩個領域常常交織在一起。事實上，我們對現實的理解很大程度上是由想像塑造的。正是透過想像，我們建立了對現實價值、意義及存在的信念。因此，放棄想像等同於斷絕與世界的聯繫。這部小品旨在探索並闡述這種深刻的聯繫。

聲音在這次探索中扮演著關鍵角色；它是語言系統的一個重要面向，深深嵌入我們的意識。任何錄音設備，即便以最原始形式都可以詳實的捕捉聲音，但攝影機難以再現覺現實本質。如果將影像可以再現真實，那麼聲音就是真理的化身？身為語言系統的另一面向是「意義」；然後影像是意義最稱職的載體嗎？在《梵谷的耳朵》中，我試圖探討聲音與影像之間的共生關係。通過使用聲音作為記憶的手段，我們可能會更接近主題的原始本質。這種方法挑戰了傳統對現實的認知，促使觀眾質疑並重新評估他們對世界的理解。透過直覺性的佈局、巧合與顛覆；一窺真理的難以捉摸的本質。

在構建這個敘事時，我的目標是超越常規的說故事技巧及原理，融合視覺和聽覺元素以創造多感官體驗。電影的結構刻意非線性，反映了現實和想像的流動性和互聯性。每個場面是巧思也是隨意，以喚起一種曖昧和內省，鼓勵觀眾在更深層次、更個人的層面上與影像互動。

《梵谷的耳朵》是對想像及聲音的致敬，以及它在塑造我們對現實認知中的重要角色。它是一份邀請；擁抱我們存在的複雜性和矛盾，聆聽透過聲音迴響的潛在真理，並看到影像表面之外的實體。聲音和影像絕非對立，她甚至提醒了我們：影像只是萬物的外衣嗎？

Van Gogh's Ear holds deep personal significance for me. It represents a creative anchor, a point of reference that has guided my artistic journey for over thirty years. This short film is a culmination of my reflections on the interplay between sound and image, reality and imagination, and the intricate ways in which we perceive and interpret the world around us.

Is the image just a form of shadow? In our modern world, everything is meticulously crafted, edited, and encoded according to specific models, transforming into consumable images and representations. This meticulous construction serves to maintain our confidence in our connection with reality. Painting, as an art form, has come to accept the withdrawal of the objective world, acknowledging its absence in its portrayal. In contrast, images, particularly in cinema, leverage human "visual flaws" (visual persistence) to affirm our transient existence, revealing the self through the acceptance of our fleeting presence in this world.

Most people tend to see the imagined world as separate from the real world, yet these two realms are often intertwined. Our understanding of reality is largely shaped by our imagination. It is through imagination that we establish our beliefs in the value, meaning, and existence of reality. Therefore, abandoning imagination equates to severing our connection with the world. This short film aims to explore and illustrate this profound connection.

Sound plays a pivotal role in this exploration; it is an integral aspect of the linguistic system, deeply embedded in our consciousness. Any recording device, even in its most primitive form, can capture sound faithfully, but cameras often struggle to fully encapsulate the essence of visual reality. If images can represent reality, then sound embodies truth. Sound is omnipresent, with no true silence or quietness. Even in silent films, the absence of synchronized sound creates a unique correspondence between visual imagery and orchestral scores, generating a counterpoint that resonates deeply with the audience.

In Van Gogh's Ear, I seek to delve into the symbiotic relationship between sound and image. By using sound as a means of recollection, we can potentially draw closer to the original essence of the subject. This approach challenges traditional perceptions of reality, prompting the audience to question and re-evaluate their understanding of the world. Through intuitive layouts, coincidences, and subversions, we aim to glimpse the elusive nature of truth.

In constructing this narrative, my goal is to transcend conventional storytelling techniques and principles, blending visual and auditory elements to create a multi-sensory experience. The film’s structure is deliberately non-linear, reflecting the fluidity and interconnectivity of reality and imagination. Each scene is meticulously crafted yet spontaneous, evoking a sense of ambiguity and introspection, encouraging the audience to engage with the film on a deeper, more personal level.

Van Gogh's Ear is a tribute to imagination and sound, and their crucial role in shaping our understanding of reality. It is an invitation to embrace the complexities and contradictions of our existence, to listen to the underlying truths that resonate through sound, and to see beyond the surface of images. Sound and image are not opposing forces; they remind us that images are merely the outer garment of all things.

關於導演 About the Filmmakers：

莊芷凡 Zhifan CHUANG

美國舊金山藝術學院藝術創作碩士，主修電影創作。近年來專注在身心修行，開創「一念之光」Sati Creative Space，推廣各式結合藝術靜心與能量療癒的課程。

Zhifan Chuang holds a Master of Fine Arts in Filmmaking from the San Francisco Art Institute (SFAI). In recent years, she has focused on spiritual practice, founding Sati Creative Space, where she offers a variety of programs combining art meditation and energy healing.

工藤雅 Masa KUDO & 張若涵 Johan CHANG

張若涵， 1990 年生於台灣台南，從事紀錄片與製片工作多年， 2019 至 2021 年修習東京 image forum 映像研究所實驗電影課程。作品多以 8mm 為創作媒材，並以日記電影與紀錄性質影像為創作基底，探索個人記憶與社會關係。

工藤雅，1993 年生於日本北海道。自幼喜歡在電視上看動畫，並曾意外用家中的相機拍下一張張的照片後做成動畫。大學曾以團體作業完成動畫習作， 2019 年前往東京 Image Forum 映像研究所，開啟個人正式的創作，作品以特殊手法獲日本國內外影展肯定。

Johan Chang (b. 1990, Tainan, Taiwan) has been working in documentary film festivals/organizations and producing documentaries for many years. She started to make her personal projects in 2019 at Image Forum’s courses in Tokyo, Japan. Her work explores the expression of moving images to address memory, image-making, hand-made process, and diary films. She is also a member of ReaRflex (Taiwan) and Ground Rebel/Level Cinema (Japan). Johan is currently based in Taipei, Taiwan.

Masa Kudo is an animation filmmaker born in Chitose, Hokkaido in 1993. Their filmography includes “Difference and Repetition and Coffee” (drawing animation / 5min / 2020), “Tokyo cyanoghosts” (animation by cyanotype (blueprint) / 3min / 2021) and “Still Life” (animation with acrylic paint / 3min /2021). Their work has been screened at Image Forum Festival East Asian Experimental Competition, New Chitose Airport International Animation Film Festival, GLAS Animation Festival international competition, Zagreb International Animation Film Festival, Moscow International Experimental Film Festival and more. They have been awarded the Hokkaido Governor Award at the New Chitose Airport International Animation Film Festival, the Yoji Kuri Award and the ASK? Film Competition, and an Honorable Mention at the New Cosmos of Photography 2022 (selected by Yuki Onodera), among others.

黃亞歷 Ya-Li HUANG

台灣獨立製片作者，關注於影像、聲音的聯繫與延伸性。近年來投身於製作台灣早期相關主題之紀錄片，希望透過歷史的梳理和檢視，探索紀錄片真實的詮釋可能，並反思臺灣與亞洲、世界之間的關係。紀錄長片《日曜日式散步者》獲2016年金馬獎，並入選鹿特丹國際影展「未來之光（Bright Future）單元。

Huang Ya-Li is an independent filmmaker in Taiwan, and is interested in the linkage between and extension of images and sounds.In recent years, he has been involved in documentaries concerning Taiwan during these Japanese colonial period, and hopes to explore the possibility of interpreting reality in the form of documentaries through historical research and examination, and also reflect on the relationship between Taiwan, Asia, and the world. His experimental works include The Unnamed (2010). The Pursuit of what was (2008), etc. His first feature-length documentary Le Moulin has won in the 53rd Golden Horse Award (2016) the Best Documentary Award, and was nominated for Best Sound Effects Award. It was also selected in International Film Festival Rotterdam, 2016.

吳梓安 Tzu-An WU

吳梓安從事實驗電影的創作、推廣、研究與擴延。他以Super 8和16mm膠卷的技法，拼貼異質的影像、聲音與文本進行創作，質問電影敘事與自我建構。

畢業於台灣清華大學人文社會學系，紐約新學院（The New School）媒體研究所。作品呈現形式包括放映，展覽與表演。影展經歷包括：倫敦BFI Flare、鹿特丹影展、舊金山電影資料館、雪菲爾紀錄影展、東京Image Forum、首爾EXiS、吉隆坡KLEX、台灣金穗獎、金馬影展、台灣國際紀錄片影展等。展覽經歷包括：台北美術獎、台灣錄像雙年展、台灣雙年展、台北國際藝術村、馬尼拉大都會美術館等。

他也是目聶映像文化與實驗電影團體後照鏡的創始成員，參與策劃各種實驗電影映演活動。

Tzu-An Wu works between experimental film and its expansions. He makes collages with analogue films, through mixing heterogeneous images, audio, and texts, he attempts to inquire about the relationship between narratives and the selves.

He holds an MA in Media Studies from The New School, New York, and a BA in Gender and Cultural Studies from NTHU, Taiwan. His works are presented in the forms of screenings, exhibitions, and expanded cinema performances, and have been shown internationally, including BFI Flare (London), IFFR (Netherland), CROSSROADS (San Francisco), Festival des Cinémas Différents et Expérimentaux de Paris, Golden Horse Film Festival (Taiwan), TIDF(Taiwan), Taipei Art Awards, Taiwan Biennial, Taiwan International Video Art Exhibition, Metropolitan Museum of Manila and more.

He also programs experimental films, and has been a member of the experimental filmmaker group “ReaRflex” and Bak-Nih Audiovisual Lab.

吳米森 Mi-Sen WU

畢業於紐約市立大學電影系，亦曾修習建築與神學。1999年以與金斯堡合作的《梵谷的耳朵》嶄露頭角，長片《起毛球了》（2000）、《給我一隻貓》（2002）、《松鼠自殺事件》（2006）以冷冽詩意的影像探索城市寓言，並入選多項國際影展。《很久沒有敬我了妳》（2015）融合原住民與古典樂，刷新兩廳院票房紀錄並擔任高雄電影節開幕片。紀錄片作品兩度獲金鐘獎非劇情類最佳導演。近期作品包括《等待》（2025）與《五輪物語》（2025）。

Mi-Sen Wu studied film at the City University of New York and also pursued architecture and theology. He first gained recognition with Van Gogh's Ear (1995), a collaboration with Allen Ginsberg. His feature films—Fluffy Rhapsody (2000), Drop Me a Cat (2002), and Amour-Legende (2006)—are noted for their cool, poetic explorations of urban allegory and have been selected for major international film festivals. His musical adaptation Kara-Orchestra (2015), blending Indigenous and classical music, broke box office records at Taiwan's National Theatre and opened the Kaohsiung Film Festival. Wu has twice won the Golden Bell Award for Best Non-Fiction Director. His recent works include Waiting (2025) and The Capriccio of Five Rings (2025).