國影電影編號：M2025_12_15

放映規格：DCP﹑16mm

級別：普遍級

片長：68分鐘

發音：英語﹑無對白

字幕：無字

☆ 映前導聆 Pre-screening intro

美歐實驗動畫經典（貳）：釋放過程－短片選集

American and European Experimental Animation (ii): Freeing Process

1. 太空中的粒子 Particles in Space

萊恩・萊 Len Lye USA ｜ 1980 ｜ 16mm｜ B&W ｜ Sound ｜ 4min

萊恩・萊的電影《太空中的粒子》探討了《自由激進分子 Free Radicals》中所運用的直接動畫手法。由此產生的點和線在螢幕上閃爍奔跑，充滿藝術家標誌性的高能量激情。萊恩・萊基金會指出，這位藝術家在 20 世纪 60 年代創作了該作品的多個版本，但在 1979 年，在史蒂夫・瓊斯和保羅・巴恩斯的協助下，幾乎全部重新製作。影像與巴哈馬和尼日利亞的鼓樂同步，以莱恩鋼製動力雕塑（莱恩為該藝術領域的先驅）的聲音開場和結束。莱恩於 1980 年（《太空中的粒子》發行的同年）去世，他留下的遺產肯定了藝術與科学融合的生成潜力，他的作品至今仍對當代藝術和電影產生著深遠的影響。— Energy Fields: Vibrations of The Pacific

Len Lye's film Particles in Space explores the direct animation methods used in Free Radicals. The resulting dots and dashes flash and race across screen with the kind of high-energy excitement that is a hallmark of the artist's work. The Len Lye Foundation notes that the artist "made several versions of the film in the 1960s but almost completely remade it in 1979 with the assistance of Steve Jones and Paul Barnes. Synchronized to drum music from the Bahamas and from Nigeria, the film begins and ends with sounds of Lye's steel kinetic sculptures (another area of art in which he was a pioneer)." Lye, who passed away in 1980 (the year Particles in Space was released), left a legacy affirming the generative potential of merging art and science, and his works continue to influence contemporary art and film. — Energy Fields: Vibrations of The Pacific

2. 香腸城 Sausage City

亞當・貝克特 Adam Beckett

USA ｜ 1974 ｜ 16mm｜ Color ｜ Sound ｜ 5min 30sec

從一個白色的螢幕開始，一個由相互關聯的盒子組成的城市逐漸演變，它總是在移動，視角也不斷變化。過了一會兒，這團香腸開始冒出來。它們是一堆經過精心渲染（使用精美的彩色鉛筆技巧）的香腸。隨著時間的推移，就會產生一大堆香腸；事實上，螢幕變成了一個沸騰、悸動、生機勃勃的生命體。結局令人驚喜。

音樂：Brillo

Starting with a white screen, a city of interlocking boxes evolves, always moving, constantly changing perspective. After a while, this group of sausages begins to emerge. They are a thoroughly rendered (using fancy colored-pencil technique) bunch of sausages. As time passes there get to be a whole bunch of sausages; in fact, the screen becomes one mass of seething, throbbing, pullulating life. The ending is a surprise.

Music: Brillo

3. 富士 Fuji

羅伯・特布里爾 Robert Breer

USA ｜ 1974 ｜ 16mm｜ Color ｜ Sound ｜ 8min 30sec

「一部充滿詩意、節奏感強、引人入勝的作品（轉描和抽象動畫），其中風景、乘客和火車內部的片段融合成一場夢幻般的旅行。這是大師最重要的作品之一，他與康納、布拉哈格、布勞頓一樣，在其越來越完美的探索中跨越了多個前衛派。」 —— Amos Vogel，影評人

"A poetic, rhythmic, riveting achievement (in rotoscope and abstract animation), in which fragments of landscapes, passengers, and train interiors blend into a magical color dream of a voyage. One of the most important works by a master who - like Conner, Brakhage, Broughton - spans several avant-gardes in his ever more perfect explorations." — Amos Vogel, Film Comment

4. 虛空幻境 Void Vision

亞歷山大・史都華 Alexander Stewart

USA ｜ 2018 ｜ 16mm｜ Color ｜ Sound ｜ 8min

導演的話：旁白部分在他創作概念上是為音樂的一部分，重其聽覺經驗，而非以語言的方式理解。因此影片無中文字幕，特此說明。

《虛空幻境》是一部抽象的科幻短片，其中真實和模擬都是同等構造的；一個雙重、孿生、重複、再創造和複製相互融合的空間。

《虛空幻境》 將科幻感與早期 CG 動畫實驗的美學結合。旋轉的雷射和重複的女性在螢幕上淡入淡出，既像拍攝的場景，又像 CG 模型的再現。這首音軌融合了菲利普・迪克（Philip K. Dick）的《VALIS》中的文字，並配有即興電子樂譜和宣揚思想和宇宙理論的聲音。

《虛空幻境》 表達了對現實的思考和重新思考；一場充滿偏執和物化的冰冷狂熱夢。

音效：費莉西亞・阿特金森

VOID VISION is an abstract science-fiction short in which the real and the simulated are equally constructions; a space where doubles, twins, duplicates, re-creations, and copies blend into one another.

VOID VISION combines a science-fiction sensibility with the aesthetic of early CG animation experiments. Rotating arrangements of lasers and duplicated women fade in and out on screen, appearing as both photographed scenes and CG-modeled recreations. The audio track, incorporating text from Philip K. Dick's VALIS, features an improvised electronic score and a voice espousing theories about the mind and the universe.

VOID VISION presents a consideration and re-consideration of a reality; a cold fever-dream of paranoia and reification.

Sound: Felicia Atkinson

5. 阿波羅 Apollo

西川智也 Tomonari Nishikawa

USA ｜ 2003 ｜ 16mm｜ B&W ｜ Sound ｜ 6min

初衷是想回答一個問題：電影如何成為最好的藝術形式，展現日神藝術（Apollonian）與狄俄尼索斯藝術（Dionysian Art）的完美二元性。

這部影片分為四個部分，按照我使用的技術來劃分：影像記錄、單格拍攝、用 35 毫米靜態單眼相機拍攝 16 毫米膠卷以及網狀拍攝。攝影照片和單眼拍攝的影像的聲音資訊分散在光學音軌區域，而我對光學音軌區域進行了划痕處理，以獲得單幅和網狀部分的聲音。我將這部電影作為我在紐約州立大學賓漢姆頓分校的畢業論文項目，朱莉・莫瑞是我的導師。

The original intention was to answer a question: how cinema can be the best art form, showing the perfect dualism of Apollonian and Dionysian Art.

This film has four parts, separated by the techniques I used: photogram, single-framing, shooting 16mm filmstrips by a 35mm still SLR camera, and reticulation. The sound information of the photogram and the images shot by an SLR spread on the optical soundtrack area, and I scratched the optical soundtrack area for the sound of the single-framing and reticulation parts. I made this film as my senior thesis project at SUNY Binghamton, Julie Murray was my advisor.

6. 光年擴展 Light Years Expanding

貢沃・尼爾森 Gunvor Nelson

USA ｜ 1988 ｜ 16mm｜ Color ｜ Sound ｜ 25min

《光年擴展》是《光年》的進一步延伸，講述了尼爾森在瑞典的旅程，她將動畫與真人表演融為一體。如果運動是《光年》的主要特徵之一，那麼《光年擴展》則更多地圍繞著影像作品展開，從而預示了她最後一部也是最複雜的拼貼電影《自然特徵》。

Light Years Expanding is a further elaboration of Light Years, Nelson's journey into the Swedish landscape in which she is blending animation with live-action. Whereas movement was one of the prime characteristics of Light Years, Light Years Expanding revolves more around the image-work, thus foreshadowing her last and most complicated collage film Natural Features.

7. 宮女 Odalisque

莫琳・塞爾伍德 Maureen Selwood

USA ｜ 1980 ｜ 35mm to digital｜ Color ｜ Sound ｜ 11min 30sec

在這些夢境中，塞爾伍德以浪漫和冒險為背景——作為一名咖啡館藝術家和歌劇演唱家——將男性幻想與通常與這些結構相關的浪漫慣例相聯繫，從而打破了這些夢境。在每一個場景中，她都擺脫了將女性置於被動或死亡的傳統束縛，回到了她的客廳，她視覺上滋養的世界。 塞爾伍德提倡以更自然的形像作為西方藝術中女性現實主義的基礎。兩種風格以一種不和諧的方式並置，流暢、優雅的動作與女性特質相對照，而卡通世界則使用石墨和彩色鉛筆繪製動畫，形式瓦解、蒸發。

Made with the aid of romance and adventure—as a cafe artist and an opera singer—in these dreams, Selwood deflates as male fantasies the romantic conventions usually associated with these constructs. In each sequence, she escapes conventional confines that would relegate women to passivity or death and flows back to her living room, her visually nurturant world. Selwood calls attention to a more naturalistic figuration as the basis for a realism regarding women in Western art. Two styles are juxtaposed in a jarring fashion, fluid, graceful motion associated with the feminine against the disintegration and evaporation of form associated with the cartoon world using drawn animation with graphite and colored pencil.

關於導演 About the Filmmakers：

萊恩・萊 Len Lye

憑藉豐富的經驗，他能夠從不同尋常的角度去看待每一種藝術，因此他在 20 世紀 30 年代提出了一些激進的想法，例如不用攝影機製作電影（「direct films 直接電影」），或者使用特藝彩色技術將素材轉換成與現代繪畫一樣絢麗和出人意料的彩色圖案。萊恩・萊才華洋溢、創造力十足，個性活潑，人生經歷非凡，是一位引人注目的人物。

萊恩・萊是多項電影製作技術的先驅，其中包括「直接動畫」，即直接在膠片上繪製和刻畫設計的過程。他於 1929 年製作了第一部動畫電影，並繼續嘗試新的電影製作技術，直到 1980 年去世。他希望動畫師成為「自由基分子」。他曾寫道：「如果沒有實驗電影製作者的精神，就不會有偉大的電影。所有偉大的電影都會在方式或處理上貢獻一些原創的東西。」

From the breadth of his experience he was able to approach each art from an unusual angle, and so he came up with such radical ideas in the 1930's as making films without a camera ("direct films"), or using Technicolor to transform footage into colour patterns as brilliant and unexpected as those of modern painting. His range of talents and inventiveness, combined with a lively personality and a remarkable life story, make Len Lye a compelling subject.

Lye was the pioneer of many film-making techniques, including 'direct animation', the process of drawing and scratching designs directly onto film. He made his first animated film in 1929 and continued experimenting with new film-making techniques to the end of his life in 1980. Throughout his 50 year career as a film-maker, Lye saw animated film as a perfect medium for experiment. He wanted animators to be "free radicals". He once wrote: "There has never been a great film unless it was created in the spirit of the experimental film-maker. All great films contribute something original in manner or treatment".

亞當・貝克特 Adam Beckett

「亞當貝克特是眾多新星中的一顆新星，他對加州藝術學院朱爾斯・恩格爾當時新成立的實驗動畫專業的同學產生了巨大影響。亞當多產且才華橫溢，那些參加 20 世紀 70 年代充滿活力的電影節社區並了解不斷發展的動畫和實驗電影流派的人仍然記得他。1970 年至 1975 年《愛德》（詹姆斯紅星的進化》、《香腸城》、《肉體流動》、《重光》和《媚俗同步》。

"A star among many rising stars, Adam Beckett had a great influence on his fellow students in Jules Engel's then newly-formed Experimental Animation program at CalArts. Both prolific and talented, Adam is still remembered by those who participated in the vibrant film festival community of the 1970's, and who were aware of the evolving animation and experimental film genres. Between 1970 and 1975, Beckett completed seven groundbreaking films: The Letter (with James Gore), Dear Janice, Evolution of the Red Star, Sausage City, Flesh Flows, Heavy-Light and Kitsch in Synch. Two larger independent animations, Life in the Atom and Knotte Grosse, remain unfinished due to Beckett's work in the growing visual effects industry and his tragic and untimely death in 1979 at the age of 29.

"Beckett's approach to animation was distinguished by his use of the optical printer in conjunction with the animation stand, which was not unlike the way a conductor would arrange the abstract but distinct parts of a symphonic composition. Beckett favored the complex use of animated loops: each successive iteration accreted additional images so that the loops did not merely repeat but evolved, appearing at once the same and different. In addition to drawing, Beckett used the optical camera to re-shoot various cycles: offsetting the frames to create a phasing rhythm and changing the color or re-framing a portion of the drawing for select sequences. This approach is seen in all of his solo films and is perhaps most marked in Evolution of the Red Star and Heavy-Light, a masterful visual universe created from only 13 drawings.

"In 1975, Beckett headed his own studio, Infinite Animation, and was simultaneously pursuing his MFA and teaching at CalArts. Because of his technical finesse, vision, and his creative ability to develop unique techniques, Beckett was recruited to head the Rotoscope and Animation Department on the ground-breaking science fiction film Star Wars. Subsequently Beckett worked on other commercial projects including the horror film Piranha (1978). This immersion into the commercial world, sadly, seems to have sidelined his personal work.

"Although Adam Beckett's independent films are now 30 years old, they still resonate as unique and relevant in the ongoing discourse of art animation." --Pamela Turner, Project Director, Iota Center

羅伯特・布里爾 Robert Breer

羅伯特・布里爾作為藝術家和動畫師的職業生涯長達50年，他的創意探索使他成為國際人物。 1949 年至 1959 年居住在巴黎期間，他以畫家的身份開始了自己的藝術追求。他使用舊的 Bolex 16mm 相機拍攝的第一批電影，例如《Form Phases》，都是基於他的抽象畫的簡單定格動畫研究。

布里爾一直對電影的機制十分著迷。或許是父親對 3D 的迷戀啟發了布里爾去修補早期的機械電影設備。他的父親是 1934 年傳奇克萊斯勒 Airflow 汽車的工程師和設計師，並製造了一台 3D 攝影機來拍攝家庭度假的所有場景。在史丹佛大學學習工程學後，布里爾將注意力轉向手工藝並開始嘗試翻書。這些動畫是在普通的 4 英寸 x 6 英寸的文件卡上製作的，已成為布里爾所有作品的標準。

當被問及他的作品時，他說他仍然依靠電影史和早期的「小玩意」作為靈感來源。他的作品《Now You See It》（1996 年）使用雙面面板旋轉成動畫電影，非常類似於 Thaumatrope，這是 1826 年第一個使用視覺暫留的電影設備。

他的作品的核心是藝術家的想像力與瘋狂科學家的好奇心相結合，深入研究失落的電影檔案，以復興被遺忘的藝術形式，並為子孫後代賦予新的生命。這就是布雷爾獨特世界的秘密。 -Jackie Leger

Robert Breer's career as artist and animator spans 50 years and his creative explorations have made him an international figure. He began his artistic pursuits as a painter while living in Paris from 1949-59. Using an old Bolex 16mm camera, his first films, such as Form Phases, were simple stop motion studies based on his abstract paintings.

Breer has always been fascinated by the mechanics of film. Perhaps his father's fascination with 3-D inspired Breer to tinker with early mechanical cinematic devices. His father was an engineer and designer of the legendary Chrysler Airflow automobile in 1934 and built a 3-D camera to film all the family vacations. After studying engineering at Stanford, Breer changed his focus toward hand crafted arts and began experimenting with flip books. These animations, done on ordinary 4" by 6" file cards have become the standard for all of Breer's work.

When asked about his work, he says that he still relies on the history of cinema and early "gadgets" as the source of his inspiration. His work "Now You See It" (1996), uses a two sided panel which spins into an animated film much like a Thaumatrope, the first cinematic device that used persistence of vision back in 1826. Like two slides flipping back and forth, it is a continuous animation based on his explorations into the devices of cinema's early history (and prehistory), which dazzled audiences by creating visual kinesis.

At the heart of his work is the imagination of the artist mixed with the inquisitive mind of the mad scientist, delving into lost archives of cinema to revive forgotten art forms and giving them new life for generations to come. This is the secret to Breer's unique world. -Jackie Leger

亞歷山大・史都華 Alexander Stewart

亞歷山大・史都華 (1981 年出生於阿拉巴馬州莫比爾) 獲得芝加哥藝術學院的藝術碩士學位。他的短片曾在國際上放映，包括鹿特丹國際電影節、渥太華國際動畫節、安娜堡電影節和日本圖像論壇。他是 Eyeworks 實驗動畫節的聯合創始人，並於 2006 年至 2013 年策劃了芝加哥 Roots & Culture 當代藝術中心的電影和錄像放映系列。他住在洛杉磯，在加州藝術學院的實驗動畫課程中任教。

Alexander Stewart (1981, Mobile, Alabama) received his MFA from the School of the Art Institute of Chicago. His short films have screened internationally, including at the International Film Festival Rotterdam, the Ottawa International Animation Festival, the Ann Arbor Film Festival, and Image Forum in Japan. He is co-founder of the Eyeworks Festival of Experimental Animation, and curated the film and video screening series at Roots & Culture Contemporary Art Center in Chicago from 2006 to 2013. He lives in Los Angeles and teaches in the Experimental Animation program at CalArts.

西川智也 Tomonari Nishikawa

西川的電影探索透過選擇的媒材和技術來記錄情況/現象的想法，通常著重於藝術創作的過程。他的電影曾在許多電影節和藝術場館放映，包括柏林電影節、愛丁堡國際電影節、香港國際電影節、鹿特丹國際電影節、倫敦電影節、紐約電影節、媒體城電影節、新加坡國際電影節和多倫多國際電影節。 2010年，他在 MoMA P.S.1 當代藝術中心放映了一系列 8 毫米和 16 毫米電影，他的電影裝置《945號樓》獲得了西班牙當代電影博物館2008年度的資助。他目前在賓漢姆頓大學電影系任教。

Nishikawa's films explore the idea of documenting situations/phenomena through chosen medium and techniques, often focusing on the process of art making. His films have been screened at numerous film festivals and art venues, including Berlinale, Edinburgh International Film Festival, Hong Kong International Film Festival, International Film Festival Rotterdam, London Film Festival, New York Film Festival, Media City Film Festival, Singapore International Film Festival, and Toronto International Film Festival. In 2010, he showed a series of 8mm and 16mm films at MoMA P.S.1 Contemporary Art Center, and his film installation, Building 945, received the 2008 Grant from the Museum of Contemporary Cinema in Spain. He currently teaches in Cinema Department at Binghamton University.

貢沃・尼爾森 Gunvor Nelson

貢沃・尼爾森曾就讀於斯德哥爾摩大學藝術、工藝與設計學院（1950 年至 1951 年）和貝克曼設計學院（1952 年至 1953 年）。 1953年移居美國，就讀洪堡州立學院（1954-57年）、舊金山藝術學院（1957年）和奧克蘭米爾斯學院（1957-58年）。她畢業後獲得了繪畫專業的藝術碩士學位。在學院裡，她遇到了羅伯特·尼爾森 (Robert Nelson)，並於 1958 年結婚。 1965 年，她與多蘿西威利 (Dorothy Wiley) 合作出演電影《施密爾岡茨》(Schmeerguntz)，首次亮相電影界。 1969 年至 1970 年在舊金山州立大學任教，1970 年至 1992 年在舊金山藝術學院任教。 1993年搬回瑞典並開始創作影像和裝置新作品。獲得無數重要獎項和資助，最近一次是瑞典藝術資助委員會大獎（2006 年）。她的電影曾在紐約現代藝術博物館、斯德哥爾摩現代藝術博物館以及歐洲和北美的電影資料館放映。 2008年，納爾遜獲得瑞典藝術資助委員會頒發的藝術家終身收入保障。

Gunvor Nelson studied at University College of Art, Craft and Design (1950-51) and at Beckmans College of Design (1952-53), both in Stockholm. Moved to the USA in 1953 and studied at Humboldt State College (1954-57), San Francisco Arts Institute (1957) and Mills College in Oakland (1957-58). She graduated with an MFA in painting. At the Institute she met Robert Nelson whom she married in 1958. Film debut with Schmeerguntz in 1965, co-made with Dorothy Wiley. Teaching positions at San Francisco State University 1969-70 and San Francisco Art Institute 1970-1992. Moved back to Sweden in 1993 and began creating new work in video and installation. Numerous major awards and grants, most recently the Swedish Arts Grants Committee's Grand Award (2006). Her films have been screened at major art museums as MOMA in New York, Moderna Museet in Stockholm and cinematheques in Europe and North America. In 2008 Nelson was awarded an artists lifetime income guarantee by the Swedish Arts Grants Committee.

莫琳・塞爾伍德 Maureen Selwood

莫琳・塞爾伍德是一位視覺藝術家，其創作範圍廣泛，涉及裝置、表演，尤其是動畫，她創作了大量具有開創性的作品，這些作品生動活潑，充滿溫柔而親密的詩意。塞爾伍德的動畫電影通常聚焦於故事、記憶和夢想，重新建構和突出女性的主觀性和經驗，採用多種技術和紋理來展示她對線條、色彩和動作的高度抒情和獨特的個人方式。超現實主義的驚喜和幽默時刻與失落、悲傷、抵抗和賦權的主題相結合，產生了一種令人難忘的電影感，它以極大的意識和美感將複雜的情感和意識外化，從而產生了深刻的共鳴。

Over her wide-ranging career as a visual artist working in installation, performance, and particularly animation, Maureen Selwood has created a pioneering body of work that is vividly evocative and marked by a tender and intimate poetry. Often focusing on stories, memories, and dreams that reframe and foreground women's subjectivity and experience, Selwood's animated films employ multiple techniques and textures to showcase her highly lyrical and unmistakably personal approach to line, color, and movement. Surrealist moments of surprise and humor combine with themes of loss, grief, resistance, and empowerment, resulting in a memorable cinematic sensibility that is deeply empathetic as it externalizes complex emotions and consciousness with great awareness and beauty.