《白晝之眠》劉曉蕙（Liu Hsiao-hui）環境錄像線上展 | “Daytime of Sleeping”--Liu hsiao-hui’s Online Exhibition of Documenting an Environment in Video Art

創作論述：

設置一張鐵床置立於白晝蒼穹與大地之間，我邀請三組參與者進入錄像中的鐵床上進行睡眠，白晝並不是一般人習常的睡眠時間，更何況旁邊還有十幾位拍攝團隊的工作人員環視在側，受邀的參與者在3小時內要「努力」的在戶外環境中睡眠，整個事件過程中是沒有行為的行為。

Artist's Statement:

Setting an iron bed during a bright day under the sky, I invited three participants to be recorded sleeping in that iron bed. Being obstructive to habits of sleeping,not to mention with a whole shooting crew with more than ten people surrounding them, participants need to “try hard” to fall asleep in three hours in an outdoor environment.The whole process can essentially be deemed as a mute presence. 

With my face being painted blue which symbolizes a metaphorical mask,the loss of my personal identity brings me back to the state of being a mere temporal-spatial object on earth, equal to birds and beasts, insects and reptiles. In the video, I do watering and filling water into the pot, gathering seeds, or sieving them into dividing lines over and over again. There is zero interaction and conversation between the person with blue face and those sleepers. All the elements come to a place in which their relations are exhibiting in an awkward manner, exhibiting a repose without any reason.

我在臉上塗滿藍色顏料，這面具般的彩繪讓我失去個人的身份，還原為土地上生存著的存在者，是與鳥獸、甲蟲、蛞蝓等同樣層次的生物，影片中我行為著汲水澆水、採集種籽、或篩出分隔線，藍臉人與睡眠者既沒有互動也沒有交流，兀自存在同一時空，創作的所有元素之間的關係突兀並列著，是無來由的午後假寐之夢。

Most activities, ranging from building a house,a bridge or paving a road, to hiking and leisure activities, need to be accomplished with a lot of physical exertion. However, some activities have to be achieved without any physical exertion, and sleep, as one has to remain in a state of doing nothing in order to fall asleep, is one of them. My work“Daytime of Sleeping” asks participants to sleep under all the conditions which are unusual when it comes to falling asleep: they have to sleep during daytime, in a public place, without privacy, and with a great deal of physical exertion. What is the point of making such an unusual scene? Is it to ridicule modern people that we have to work very hard even to sleep? Or do we really want to return to nature and settle down under the sky? Or to express the preciousness of contemporary people's sleep? Or angrily protesting that the post-industrial age has no real nature to speak of, along with sleep? Or do we want to magically create spectacles on our own and put people to sleep in a dimly lit world?

大部分的事情是需要人的努力才能成就，不論是造屋、築橋、鋪路等生業行為，或是登山健行的休閒活動，一切皆是如此的需要被努力達成，但卻有一些事情反而是要不努力才能達到，例如「睡眠狀態」是人要保持不活動不努力的狀態，睡眠才會主動不請自來，但我在「白晝之眠」創作中，安排在不該睡眠的時間睡眠，在不該睡眠的地方睡眠，在無隱私之空間「努力」的進入睡眠，完全違反睡眠所需的條件，完全無視睡眠的常理法則。

為什麼要營造這麼不尋常的場景?是要嘲諷現代人連睡眠也得非常的努力？還是真的想要回歸自然在蒼穹下安身立命？或是要表達當代人安眠的難能可貴？或心理忿忿地在抗議後工業時代已經沒有真正的自然可言，連同睡眠？抑或想憑一己之力魔法般地創造奇觀，讓人在亮恍恍的世界裡安眠？

For the philosopher Emmanuel Levinas, the anxiety presents itself most acutely in the experience of insomnia which is the experience in its highest metaphysical dimension of an empty, mute presence. With people being put in an environment which makes people feel insecure in their body, facing the fear that makes people feel like walking on thin ice, and being exposed to the universe with no way to escape, how will the concept of being-in-the-world become one’s ontological proof of their existence? In the process of making a piece of artwork, does it suggest the possibility that art itself has already proven us the fact of being-in-the-world? Can I be at ease with what I want without asking for anything?

哲學家列維納斯所言「失眠」的焦慮正是自身感知存有得唏唏作響，身體又無法行動作為，如果身體無法感受到被安全地置放，如果存在的不安像氣球與針尖的距離僅剩指縫之間，如果人必須暴露在遼闊的世界毫無遮蔽，這樣的境地世界會對我「實顯」什麼？在藝術創作的安排中，其本身是否已經包含存有真實顯現的一部分？是否我能安心以對而無欲所求？

Praying for living safely when one is in an unsettling world, praying for peace when one is left unguarded, praying for the truth when one resides in these socially and politically troubling and disorienting times, creators become a vessel for people living without a shelter and a comfort to people whose home has been shattered and become homeless. The world is full of images of the mother earth singing lullaby to children who haven’t accustomed to this unsettling world, waves being beaten down by concrete tetrapods, abandoned bridges being overgrown with weeds, concrete buildings standing upright as planted windbreaks with ghosts roaming in between, and people whose relationship as mother-and-daughter or husband-and-wife being intertwined with one another. One’s existence is carried out by prescribed orders laid down by the Universe. Creators are a vehicle for expressing universal emotions as well as the invisible presence retreating to their world of art in which my work “Daytime of Sleeping” presents itself to its viewers. Humans come to their place as a temporal-spatial object in the world, just as other creatures and objects existing in this Universe.

在不安的世界之中祈求著安住，在無護衛的空間之中祈求著平安，在無常理的事件之中祈求著真理，創作者是多麼想護衛沒有庇護的存在者，多麼想安慰失去房舍的無家可歸者，海天如母親般對著那還不適應這風雨無定的世界的孩子輕唱搖籃曲，而擊碎浪花的消波塊、覆蓋植披的廢棄座橋、巨型雕塑般聳立在防風林的水泥群塊正幽靈般浮現在當代地景，母女、夫妻或自身的關係人參與其中，如是宇宙有序，遭逢有時，創作者是人類藝術通過的產道，是隱退到作品後面的存在者，我的環境錄像「實顯」自若是，人物實存蒼穹沙鷗自若是。

文字 | 劉曉蕙（Liu Hsiao-hui）

翻譯 | 林弱水（Lin Rou-shui）

照片提供 | 劉曉蕙（Liu Hsiao-hui）

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藝術家簡介:

自高中時代開始學習紀實攝影，藝術創作內容以關注人類和自然環境的關係為主； 2000年於花蓮七星潭海岸創作環境藝術，2010 年後嘗試結合地景裝置、行為藝術、裝置藝術交互呈顯，2017年後以錄像藝術為主，經由觀景視窗攝獵影像，進而開始謀劃自身行為涉入影像，邀請民眾參與行為藝術進入拍攝，其影像作品猶如天地和人物互為自顯的宇宙中詩意存有的劇場，「我即是風景」自然成其為是。

Having been learning documentary photography since high school, the artist’s content of art creation is mainly concerned with the relationship between human beings and the natural environment. In 2000, she created environmental art on the coast of Qixing Lake (Qixingtan), Hualien. After 2010, she tried to combine landscape installations, performance art, and installation art for interactive presentation. After 2017, the artist focused on video art. She hunted images through the lens of the camera, and then began to involve herself in the video, inviting the public to participate in the performance art to enter the shooting. Her works are like poetry in the universe where the world and the characters are self-evident. In the theater of existence, "I am the landscape" naturally becomes what it should be.

藝術家網站: http://tienartist.weebly.com/

Artist’s website:http://tienartist.weebly.com/

消逝與還原/匿名或現身—有關劉曉蕙藝術創作中的「公共性」| Diminishing and Representation / Being on the scene or not ? : The “Publicness” in Hsiao-hui’s Works

劉曉蕙 5/29 的《白晝之眠》開幕線上座談

Sleeping in Daytime: Hsiao-hui’s Opening Ceremony Talk on 29th May

《白晝之眠》（鹽寮漁港）截圖，2022

Sleeping in Daytime (Shot in Yanliao Fishing Port), screenshot, 2022

藝術評論/李志剛

曉蕙之前有留言給我想要我談藝術作品的「公共性」，我聽了前面主持人和其他評論者已經精準地把創作者和作品的表現意圖作了非常清楚的解析與詮釋，首先我認為大家今天能聚在這裡用論壇的形式作討論和分享就是一種公共性，特別是在這個在疫情期間，我們找到了與當前情勢重新和解共存的生活方式，人類文明正在探索和找尋新的「日常」和「公共性」對話的可能性…… 

我們都知道曉蕙的作品和關心的議題大部分集中在花東在地的環境地域，相對於如台北的主流藝術界所關心的那些中心場域，身處花東的創作者所關心處理的議題顯得是在核心圈邊緣且小眾，這是長期以來資源分配失衡的結構性問題，但是並不代表那就不能向大眾去發聲和分享，在今日網路世界的數位發展造就了這種機會，

今天的線上展覽和論壇就是作為一種公共性的平台，不斷集結小眾的力量去突顯那些被邊緣化或者被漠視的環境議題重新受到重視就是當代最重要的公民運動，今天參與的各位所貢獻的想法和力量，就是在創造和凝聚所謂「公共性」的影響力，有別於政治活動那些比較顯性的權力運作，藝術行為有著更悠遠、更深刻的長期隱性力量，雖然我們很難逆轉時尚潮流所創造出來的大眾流行文化的影響力和資源分配的權力結構，但是我看到花東近年來的這些群聚的藝術創作者仍然默默地憑藉一己之力在地耕耘想要去突破這些困境和限制，用一種緩慢安靜且堅忍持續的力量，固守並建立了後山的精神堡壘，形成了有別於西部主流藝術山頭的聚落文化，非主流的伏流已在慢慢彰顯。

曉蕙老師從自己生命體驗出發，帶出她對土地及創作上堅持的美學與理想性，她的創作彷佛把自己的面目和身體獻祭出來，非常小心翼翼地花心思用一種自然樸素且低限的手工編織了一張無形綿延的網纏繞自己來貢獻給藝術的神靈，這張網目前不緊也不鬆，目前看來還算舒適且帶有一點焦慮……. 

『隱晦的抽離與強烈的對比性』

再來是有關創作者的角色和作品之間、以及創作者對自身內在認知與外部觀眾連結性的問題，就這個面向而言，曉蕙的作品具有非常高的現代性及當代性的行為/行動藝術表現的特質，但有別於當代比較激進的行動藝術工作者所使用的干涉與擾動現實環境的參與方式，曉蕙的創作採用的方式是介於劇場表演和電影拍攝之間互為辯證和延續的後設敍事作法，不斷用現實空間的消解去換取創作在環境議題和時間上的延續，當一個創作行為和作品在當下的時空被用最低限的方式去進行和完成而消逝的同時，影像的生命與意義也隨之誕生和延續，並企圖講述著一種永恆的真理去對抗在現實環境中那些難以抹除的荒謬與傷感、那些無法言說的真相與矛盾⋯⋯ 

創作者和一般人的二元對立性身分/角色 在我們的理解當中，藝術創作者應該是會和一般人非常不一樣的「異者」身份，創作者基於所要述說的議題或者想要表達的論述往往必須表現出強烈的作品風格，創作者的作品和創作者本身的個性往往互為投射，藝術家追求獨特性的創作本質，也和一般平凡人觀念、平凡角色性格的表現是不一樣的，但是曉蕙的作品中常常要把自己這個平凡人的角色投入到創作過程當中變成作品的一部分時，這種主客/內外對立的矛盾就很難消弭，追求創作美學獨特性的同時，創作者又偏偏要降低自己在其中的可辨識性與個性化，壓低個人的角色身分特殊性變成一個沒有面目或者類似帶著面具的隱藏者、無言的發言者、去個性化的沉默路人變成主角的影像風格，迫使觀影者必須能安靜沈思、噤聲去神入那個看起來通俗正常實則荒誕怪異的影像世界！

『塗臉與變裝』

有關將臉部著色的作法我個人的看法是：這是關涉創作者在創作中如何現身與作品呈現二次還原的問題？ 將臉塗色讓我聯想到了不合作運動的那個匿名者v怪客、藍人樂團的表演或者是阿凡達電影中納美人身處的那個異世界，不知道大家有沒有注意到，從這個視訊開始曉蕙老師的臉就一直在陰影當中，不知道是不是刻意的？我想不是，但從我視訊畫面裡面看到的景象便是如此，因為曉蕙老師的取景鏡頭刻意要面對著藍天大海，她的人百對鏡頭就背光身處在陰影當中，於是他的臉就一直若隱若現的在黑影當中沒有辦法看得很清楚，這或許是一種巧合和偶然，但也是為了創造某種情境下所做選擇的必然呈現了⋯⋯ 

簡單來說，把臉塗成淺藍色表示希望自己在劇情中被忽略而把自己進行虛擬化改造、或者是透過角色的「中性化」、「異者化」抽離創作者在場而產生的「匿名性」來控制情緒的表達，可以巧妙地化解了內/外、主/客的矛盾一不同角色必須在場卻又希望不在場的二元對立衝突困境，於是這個去個性化的「變裝」操作變成一種非常鮮明強烈的畫面儀式感，創作者的去本我面目塗妝、面具化、變裝等儀式感改變了創作者觀看自我與他者的角度與模式切換，可為其提供隱藏人格力量的來源。 

就像漫威的角色當中所有有超能力的英雄角色都必須透過帶面具變裝等隱藏身分的方式重新現身而獲得力量，這種匿名性或以異於原來身分的轉換作為一種儀式而讓創作者能夠得到力量的靈感，我相信是原始藝術的源頭，這是源自於古老宗教中膜拜行為的潛意識所衍生的天啓，這是一種隱藏實體身分而進而激發出另外一種相對虛擬化、具有超越原本角色能力的身份切換，就像所有的漫威英雄角色在執行任務或變成英雄之前都必須要戴上面具或以一種變裝的姿態轉換身分方能展現其潛在個性角色的超能力，激發一個常人去整合其分裂人格中所隱藏的那些不同的潛在人格分身，並且神入那個具有超能力變身之後的英雄角色，

我猜想生性羞赧低調的本性讓曉蕙這個創作者必須用這種塗抹臉部去除個人特質或者類似戴上面具的隱身變裝方式現身於大眾面前重新展現，減少自己潛意識中的焦慮及恐懼並獲得抽離自身觀看自我於眾人眼光中的安全感，透過內在這樣隱身匿名的儀式性獲得面對外界的力量…… 這樣的做法其實並沒有完全失去創作者原來的面目，但主要重點是在透過身體上的妝點改造儀式來提供了一種心理上的安全感，克服面對外在世界與人群的焦慮感，這一層塗膜的面妝建立了一道防衛的屏蔽，為內在的心理層面提供了一層隔離防缐讓自己獲得隱藏原來面目而得以展現另一個層面的自我在創作行動上的勇氣與力量，創作者透過如虛擬化、抽離化、人格角色轉換的過程，在一次現場和二次影像還原的媒體後設情境當中，皆能獲得隱身匿名而能在創作和人群面前現身的力量，作為創作者投射自身向人群及公共領域發表時的一種進程手段，也是創作者必要在場現身的不在場低限手段，這種把自己化身為不在場的他者就好比在拍攝電影過程中原著或導演化身的路人甲路人乙的角色演出自己的作品……. 

『演不演、行為不行為』

這些都是曉蕙作品中有趣的對比性，創作者或參與者在現場擔綱演出但又不是本我的那個角色，那麼非得創作者或參與者本身去當主角演出嗎？能不能請其他演員呢？或者應該這樣問，這些參與的人知不知道自己是在表演？知不知道他是在演自己或是在演某種「角色」？或者是創作者本身希望自己和參與者最終都不知道或是已經忘記自己是在表演並且能夠「神入」到角色當中？創作者本身在現場把自己化身為創作場域中彷彿不在場的「異者」，這種獨特的在場卻又彷彿抽離的現身方式，營造出作品中的一種靜謐的神秘感，強迫觀影者或觀看作品影像的人必須要靜默安靜地跟隨創作者鋪陳的情境體驗脈絡線而陷入沉思，慢慢思考作品想要表達的深層意涵，不管你對創作者的動機和背景了不了解，至少在影像表層的現象當中可以發掘很多視覺上和心靈上的對話，可以完整及純粹地表達媒體呈現的美學和藝術性，然後當暸解了創作者的背景、動機和她所關心的議題以及想表達的想法之後，又是另外一回事了⋯⋯曉蕙老師的創作和作品，對於當前對「公共性」這件事情的溝通上，沒有要談論什麼偉大道理的野心，但是意涵上卻是非常深刻，未來在個人美學和公共議題在兩個層面的著墨上仍然存在很高的對比性演出值得期待……. 時間篇幅關係我就先講到這裡，其他的部分有空再談了⋯⋯

Written by Chih-kang Lee

Hsiao-hui told me she wants to talk about the “publicness” in artwork. What the host and critics said earlier has already precisely interpreted and explained what the artist wants to convey to the public through her works. First of all, for us getting together here today to have a panel discussion and sharing is, to some extent, a form of publicness. Especially in the time of pandemic, we thrive on overcoming challenges and adapt to living alongside by making reconciliation about how to coexist. Human civilization is looking for a “new normal” and how it reflects on the “publicness.”

Most of Hsiang-hui’s works focus on environmental issues in the local area (East coast of Taiwan). Those topics of what creators in the local area have been doing are relatively marginalized when compared to the mainstream art in Taipei. This phenomenon stems from a structural inequality which leads to a long-term uneven distribution of resources; however, thanks to different digital dissemination methods, chances have been created for those creators to speak out on matters of their public concerns.

Today, the virtual exhibition and forum have become a public platform of gathering small voices—those environmental issues that have long been marginalized or neglected by the majority—and bringing them to light as a powerful contemporary civic movement. What you have contributed to today’s forum can create a strong impact of “publicness.” With its immersive and profound nature, art can stand the test of time better than political actions do. Though it’s hard to make a difference when one is submerged with the latest and popular trends and the uneven distribution under the current authority structure, I still can see a community of determined local artists who have engaged with a great zeal in creating artworks which question the existing problems and situation in the local area. The gradually emerging community carries on making a difference in a subtle but firm and persevere way, building their own spiritual kingdom to stand against the Western mainstream art located in the back of the mountain.

 Hsiao-hui creates with her own life experience. Her works bring out her aesthetic and ideal devotion to representing lands in art. In her works, she offers herself—her face and body—as a sacrifice. She became a hand-weaver who weaves an invisible net, comfortable but with a little anxiety, to wrap herself up, sacrificing for the Divine of art. 

Obscure Dissociation and Strong Contrast

What has to be explored next is the relationship between the role of the artist, her works, and how the artist’s self-awareness connects with the audience. Hsiao-hui’s artworks highly contain the characteristics of modernity and contemporary performance. However, unlike most provocative performance artists who involve the interference and meddling in the reality in their art, what sets Hsiao-hui’s art apart from them is her dialectical relationship between theater-based method and filming techniques that are interwoven with her metanarrtive elements. The way of diminishing time and space in reality by her  original  works is exchanged for extending the environmental issues sequentially she wants to approach in  the subsequent representation of her works. The moment of burning actions and art being created in the most minimalized way is the same moment that the meaning and  life in her video work come to rise from the ashes. An eternal truth creeps in, rendering the video works as traces of unremovable absurdity and sorrow and unspeakable facts and ambivalence when fighting against the real world. 

The concepts artists and the mundane involve a binary opposition in our understanding. Artists are often seen as “Outliers”; their works often strongly reflect what they want to advocate and what issues they care about; and their works also often reflect their personalities. What an artist pursues is a uniqueness in the essence of works; that is, this pursuit of an artist and mundane matters diverge. However, as Hsiao-hui usually includes herself as a part of her works, it would be harder to reconcile the subject/object or internal/external paradox. In the pursuit of aesthetic uniqueness in works, she has to hide her identities and traits by depersonalizing herself in a way of wearing a mask, being speechless, and making the mundane the protagonist. The world in the video works seems normal and mundane; however, there’s a certain absurdity in it which is what the artist wants the viewers to put themselves into with undivided attention.

Face painting and cross-dressing

About my thoughts of face painting, this is about how the artist presents herself in her work as well as how the work itself is represented. It reminds me of the Guy Fawkes mask which represents the non-cooperation movement, the Blue Man Group, and where the Na’vi people dwell in the movie Avatar. If you pay close attention, you will notice that ever since the online meeting began, the face of Hsiao-hui has been in the shadows all the time. I don’t think she does it on purpose; however, that’s what I saw on my screen. Because all of Hsiao-hui’s shots are facing the blue sky and the broad ocean which put her subjects in the backlight, her face is therefore obscure and hiding away from the light. You can say it’s a coincidence as well as a definite result from a series of choices in order to create a certain ambience…

In short, painting her face light blue represents the artist’s desire for being neglected and control over her expression of emotions in a way of transforming, neutralizing, othering the creator role which generates “the anonymity.” This way, the artist subtly reconciles the paradox of the internal/external, subject/object paradox which is shown in the necessary character’s desire of not being on the scene. Therefore, the depersonalized “cross-dressing” becomes a strong contrasting picturesque ritual. The artist’s rituals such as makeup, masking, and cross-dressing change the artist’s perspective and way of viewing self and others, which can provide her with the powerful source of her hidden personality.

Like superheroes from Marvel depend on the change of their appearance or disguise in a mask or costume in order to gain a superpower, this kind of anonymity or change of identity resembles a ritual which allows the creators to gain the courage to find inspiration. I believe that this is where the art comes from. It originated from the Oracle which was heard as one was praying in ancient times. The disguise of true identity summons an alternative identity that has more power and confidence than the original one does. All the Marvel superheroes’ superpower are shown when they are to wear a mask or transform themselves before they fight the villains. It’s a mechanism of triggering another personality within one and then developing the empathy for the other identity—superhero—after transforming their appearance.

I guess the shy and low-key nature makes the artist have to use face painting to remove personal characteristics or wear a mask to re-show in front of the public. She reduces the anxiety and fear in his subconscious and gets rid of the sense of security in seeing herself in the eyes of others as well as the power to face the outside world through such an invisible and anonymous ritual inside. In fact, this approach does not completely lose the original face of the artist, the main focus is to provide a psychological sense of security through the cosmetic transformation ritual on the body, and overcome the anxiety of facing the external world and the public. A layer of painted face establishes a defensive shield, providing a layer of isolation and defense for the inner psychological level, allowing one to obtain the courage and strength to hide the original face and reveal another level of self in creative actions. The artist can obtain the power of invisibility and anonymity to appear in front of the public in the process of virtualization, detachment, and personality role transformation, on location and in a metacognitive situation of recreating images. She projects herself as a creator to the public and it is also a minimalized absence of her being presence. This kind of incarnation of oneself as an absent other is like a director playing a passerby in during the filming of their own work. 

To act or not to act, to do or not to do

These are all interesting contrasts in Hsiao-hui’s works. The artist or participants are performing on location, but it is not the role of themselves. So do the artist or participants themselves have to be the protagonist? Can you hire other actors? Or do the people involved know that they are performing? Do you know if they are playing themselves or playing some kind of "role"? Or does the artist herself hope that she and the participants don't know or have forgotten that they are performing and can "empathize" with the characters they are playing? The artist incarnates herself as a "the Other" who does not seem to be present on location. This unique way of being present but seeming to be detached creates a quiet mystery in the work, forcing the viewers to see. Viewers of the works must quietly follow the context of the situational experience laid out by the artist and fall into contemplation, slowly thinking about the profound meaning that the work wants to express, regardless of whether you understand the artist’s motives and background. At least the images have a lot of visual and spiritual dialogues that can be discovered. After the aesthetics and artistry of the work can be fully and purely expressed, the deeper thinking and reflection have to be developed by the viewers themselves. Hsiao-hui’s works have no ambition to talk about great truths in the current communication on the matter of “publicness.” But the meaning in her works is very profound. In the future, the highly contrasting relationship between personal aesthetics and public issues is worth looking forward to. Because I'm running out of time, I will talk about other parts some other time.

李志剛簡介 |

身世／1969年出生於屏東市

角色／長男、某位人妻之夫、兩個小孩的爸爸、大學建築系老師出版／《FACE TALK 過去是一面鏡子》2012年6月

專業／環境空間規劃、建築設計、「物」制作

業餘／文字工作及藝術創作者、生活冒險及心靈拓境者

Introduction of Chih-kang Lee |

Birth/ Pingtong, 1969Roles/ the eldest son, a husband of someone, a father of two children, a lecturer in the department of architecturePublication/ FACE TALK: The Past is a Mirror, June, 2012Profession/ the spatial planning, architecture design,  「object」 design

Other/ a writer and an artistic creator, life adventurer and mind explorer

譯者 |
林弱水

Translator |

Lin, Rou-shui

《成為母親的我們》:母性失格？──「我們」之所以為母親｜“Maternal”: Failing as a Mom? —What It Means to Be a Mother

《過去以紀錄片拍攝為主的莫拉•德佩洛(Maura Delpero)，其執導的第一部劇情長片《成為母親的我們》（Maternal）講述提供未婚媽媽庇護的天主教修道院裡，一對性格大相逕庭，並各自育有孩子的閨蜜，奔放不拘、不甘受教條束縛的露 (Agustina Malale飾)；拘謹壓抑、相對逆來順受的法蒂瑪(Denise Carriz飾)，以及從義大利遠赴阿根廷的新進修女寶拉（Lidiya Liberman飾）。面臨生活及價值觀的巨大落差，被「孩子」圍繞的三人如何掙扎於身分、責任及自我歸屬的焦慮衝突？本部獲得2019年盧卡諾影展國際競賽特別提及、天主教人道精神獎，與2019年歐洲電影獎最佳歐洲電影獎等殊榮，除了承襲莫拉•德佩洛對社會議題一貫的關注以及生活感的視角，受文學影響極深的她在影像美學上更別具洞見，精巧且含蓄的平衡構圖，畫面上的穩定淡雅對比檯面下的情感矛盾，使兩者之間產生了強大的戲劇張力

◎何以為家？

母性（Maternal instinct）不論在中文或英文的脈絡裡，其定義都指向母親愛護子女的天性，但兩者都未能明確說明其表現的內涵，而僅僅歸納於和生育密切關聯的女性本能。有意思的是《成為母親的我們》比起英文片名Maternal所指涉的母親、母性，西班牙文的Hogar所代表的「家」似乎中和了歷來母愛與女性無可避免的連結性，而能更廣泛地探問：何處是家？何以為家？

片中出現許多關於家的討論，然而從露、法蒂瑪兩位少女在天台上聊著修道院是否為家以及日後與誰成家之辯，到孩子們訴說、描繪「模範家庭」的想像，對這些被擠壓於社會邊緣的單親媽媽及幼童而言，家向來都是相對飄渺甚至毫無共識的：遭強暴產子的法蒂瑪顯然無法完整回應兒子的依附需求；任性自我的露選擇不告而別、向外求愛，於是一支不合時宜的口紅、一粒固定在床角的氣球，成了她留給幼女妮娜的補償／臨別禮。失職的母親、不起作用的母性向來是社會大眾的焦慮所在，這是一個缺失父親角色的家，也是一個年輕媽媽們得再三被檢視合格與否的家。

◎禁果的內涵

以幾位年長修女為首的修道院固然頗有保守、潔身自愛的威儀，但偶爾仍默許了挺「人性化」的娛樂，於是穿著清涼熱褲的少女們大開派對、在紫光四射的「舞池」裡扭腰擺臀，修女們則坐在門外的椅子上打盹等候，兩造鮮明成了逗趣的場面，此時鏡頭頻頻帶到電視機裡正在播放的動畫影片：亞當和夏娃偷嚐禁果。作為一部幾乎屏蔽男性存在的電影，它顛覆了禁果以往象徵的男女情慾，亦預示了日後寶拉修女「充當母職」的逾矩。當露離開修道院後，最有「餘裕」照顧妮娜的人，自然落到年輕又耐心溫柔的寶拉修女身上，她能親暱地將孩子攬入懷中、在睡前柔聲講述醜小鴨的故事，甚至是安撫先前因沮喪把圖畫撕毀的妮娜，再陪她把紙張拼黏回去。當觀眾為了妮娜的生活福祉著急時，寶拉修女成了撫平此焦慮的存在，她與妮娜的溫馨互動極盡純淨美好，完全展現了「作為一名母親」的天賦與意願。

然而但凡對天主教信仰有點了解的人，多少都知道修女在發永願、獻身於上帝後，同時也宣告了現世的獨身生活，她們被期待以普世性的關愛去照拂他人，至於自我對於母職的渴望則只能硬生閹割。於是寶拉修女之於妮娜彷彿踩在一條禁忌的線上，與妮娜同睡的每個夜晚變成偷偷摸摸的行動，黑暗中沿著牆緣移動的白色背影、幾處帶有窺視意味的長鏡頭（long shot）目睹了她雙手抱著妮娜在廊道上匆忙穿梭，以及光天化日下年長修女們在窗邊心照不宣的目光，都讓本部的基調愈發壓抑。

◎以「我們」作為母親角色的感召

本以為一去不返的露最終「浪子回頭」似乎是迫使寶拉修女做出抉擇的推力，露做為眾人眼中不負責任的失格母親，不論是妮娜見到她時的愣神、意識到有人取代其母職的憤怒，再到他人不見待己的挫折，都無可避免地讓劇情導向「兩位母親」的對峙。當露憤而扯下寶拉修女的頭巾時，嚇得她倒抽一口氣，然而彼此爭端的高峰便在此停止，沒有過多女人為難女人的情節，更沒有發展成激烈的爭奪戰，尾聲一幕裁定露要離開修道院收容所的決定，讓兩人同時心碎絕望，對寶拉修女而言這是與妮娜永遠的別離，而對露來說沒有什麼比帶著女兒離開賴以維生之地還要更恐慌的了。

分離的迫近讓寶拉修女索性把頭巾卸下，當她抱著熟睡的妮娜上街時，長髮飄逸的她似是「還俗」般與常人無異，觀眾此時才發現原來修道院的鐵柵門之外離「凡間」是如此接近，但這從來不意味離開、獨自生活的容易，何況她與妮娜間缺乏的正當性也不足以支撐現實生活。坐在台階上流連許久的寶拉修女，最終還是將妮娜帶回修道院還予生母，露知情後並沒有責難她「偷了自己的孩子」，反而說：「她可以一直睡、一直睡，因為她不喜歡午睡。可以幫我抱著她嗎？這樣比較好。」兩位傷痕累累的「母親」都不再堅稱對孩子的所有權，選擇在最後將彼此的權利各自讓渡。

以個人為出發、「身為母親的我」為起手，往往是女性在艱困社會處境下犧牲奉獻的悲劇；然而「成為母親的我們」卻是排除本質論述且協調溝通的。《成為母親的我們》以「我們」作為感召，將關注從夠不夠格成為母親，拉回女性作為母親的集體困境，同時延展對母親／母性討論更多的可能與寬容，於當今眾聲喧嘩的時代氛圍下，毫無疑問是一項溫柔且堅定的策略。

With her main exploration in documentary world, the director Maura Delpero made her first narrative feature, Maternal (2019), which follows the juxtaposition and clash of three characters: Luci (Agustina Malale) who is disruptive and rebellious, Fatima (Denise Carriz) who is reserved and repressed, and Sister Paola (Lidiya Liberman) who is a nun, just arriving Buenos Aires from Italy to take her final vows. Luci and Fatima are close friends, each having a child, and living under the roof of a convent-run shelter for single mothers. Maternal presents a paradoxical world where three people struggle for an anxious conflict between identity issues, responsibilities, and a sense of belonging. The film is nominated for an International Competition: Special Mention in Locarno International Film Festival and Best European film in Europa Cinemas Label in 2019. Mixing starkly composed formalism with her literature background and unique sense of composition in cinematography, Delpero's film most surprisingly risks a full lunge into melodrama with more organic, observational material of daily routines. That's a tricky range of registers and tension to balance, but Maternal mostly does so with sensitivity and fluid authenticity.

◎Where is Hogar?

People are bombarded with the idea that maternal instinct is something all women possess. It's expected that women have some sort of instinctive desire to love their children and know how to take care of them. However, the idea of maternal instinct which, both in Mandarin and in English, implies that there is an innate knowledge of becoming and being a mother cannot fully make us understand motherhood. What's interesting is that the film in Spanish is called Hogar, which means “a place you feel at home.” The maternity is therefore linked to the concept of “home” which seems to be a scenario that raises age-old questions over maternal rights and responsibilities that motherhood and women cannot be separated from. There are many discussions about what a home is in the film. As we see Lu and Fatima debate over whether the convent is a home for them and whom they will marry to, we also see how children in the film imagine about home through drawing. To those who live a marginalized life, single mothers and kids living in deprivation alike, the concept of “home” is always unreachable and abstract: being raped and forced to give birth to her son, Fatima is unable to become an attachment figure for her son; with a reckless heart, Luci sneaks out and goes AWOL to go after love, leaving a lipstick as a gift which shouldn't be given to a child at such small age and a balloon stuck to the bed for her daughter, Nina. A mom who refuses to engage in attachment relationships with her children is always linked to the anxiety of existence of dysfunctional families that the society always associates them with. Therefore, whether families with young moms can become a legit “home” for children depends on fathers’ presence.

◎The Meaning of the Forbidden Fruit

Although the sanctuary is full of stately austerity that is run by elder nuns, some worldly entertainment is still permitted in the Hogar. In one scene girls are doing disco dance, the shots follow closely with girls rubbing against one another on the dance floor which is filled with dazzling flashing lights. The contrast is conspicuously and cleverly established when the camera cuts to those elder nuns sitting at the front door, nodding off and waiting for its end. Then, the camera swiftly crosscuts between the disco scene and children's cartoon depicting Eve's temptation of Adam on VHS. As a film that shows no male figure, the cartoon's intrusion transforms the forbidden fruit, which is a symbol for the lust for sexuality between males and females, into a substitute of caretakers which also portends a future of Paola's crossing the line for Nina as a mother. When Luci suddenly goes AWOL from the hogar, Paola's playful bond with Nina escalates into quasi-guardianship— she can gently hold Nina in her arms, telling her the story of “The Ugly Duckling,” even piecing together the painting which was torn by Nina because of her disappointment. Sister Paola seems to become the existence for soothing the audience's anxiety for Nina not being taken care of. She perfectly embodies the nature and willingness of being a mother with her pure and unconditional love for Nina. It's known that Sisters and Mothers who devote themselves to God are expected to love everyone equally and remain cloistered; however, the natural calling for maternity as a woman is forced to be eliminated when taking religious vows. Sister Paola is walking on thin ice as she proceeds to follow her falling for Nina—every night, she sneaks to sleep side by side with her. There's a shot of her in a white robe moving along the wall in a sneaky way in the dark; there's also another long take witnessing Sister Paola holding Nina in her arms, rushing through the long hallway; all other Sisters see what Sister Paola is doing under the sun, understanding without expressing directly. Those examples all set a repressed tone for the film.

◎ Develop Maternity Collectively

What brings Sister Paola to a situation of making a decisive move is Lu's unexpected return to the hogar. As we see Lu being treated as a disqualified mother, see her being furious about how her role as a mother has been replaced by Sister Paola and frustrated in people in hogar avoiding her and Nina looking at her in complete blankness, the tension between these “two moms” is reaching to a climax. When Lu angrily takes Sister Paola’s habit off, she is shocked by what she sees. That's also where all the quarrels and disputes climax and stop as the two women are freed from nervous tensions between them. When the nuns of the convent come to a decision which determines Lu’s leave, it turns out to be the most devastating thing for both of Paola and Lu. For Sister Paola, it means to be forever parted with Nina. For Lu, it means to leave where she used to depend on and be familiar with, and be faced with an unknown future as a single mom with a daughter. As time of being separated from Nina is ticking, Sister Paola takes off her white habit and holds sound asleep Nina to the street, wandering. With her long hair trailing behind, she looks more like an ordinary woman than a nun. As the action of walking outside the convent takes place, the audience now can see how short the distance between the barred door of this institute and the outside world is. However, it doesn't mean that leaving the convent and living on her own is easy. Moreover, the relationship between Sister Paola and Nina which lacks legitimacy can never make them survive in the real world. After lingering on the stairway on the street, Paola finally takes Nina back to her real mon, Lu. Seeing them come back, instead of blaming the Sister’s act of “stealing of her child,” she says, “let her sleep, because she doesn’t like to take a siesta. Could you hold her for me? It'd be better.” These two “moms” choose not to fight for being Nina’s guardian, and finally reconciled with each other.

The film portrays maternity from different individuals’ points of view-- it raises age-old questions over maternal rights and responsibilities which are always entangled with women's poor situation in society. Yet, Delpero's script never feels didactic; instead, she refuses to reduce the complexity of people's age-old take on maternity and portrays it from multiple points of view. Maternal provides a variety of maternities for us to shift our focus from “imperfect mothers” to kinds of dilemma that a mother would face, suggesting that we need to look at the context in which maternity exists and the way that it is shaped. Under Delpero's humanistic gaze, every has their reasons – a stance very welcome is a real world of such acrid dogmatism.

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作者簡介 |

李翊彤｜華文系畢業。喜歡走路、電影、瞪鞋與牛，因為這讓她頻繁想起夏宇詩中的一句：「重複可以讓我幸福。」

譯者 | 林弱水

Author |

Li Yi-Tung | graduated from Department of Sinophone Literatures, she likes to walk, watch movies she loves, Shoegaze and cows which reminds her of what Katie Lee had wrote in one of her poems: “Repetition makes me happy.”

Translator | Lin Rou-shui

從《公路規則》看物件與戀人關係的遞移 |

《公路規則》（1993）是由美國導演蘇・弗迪胥所拍攝的實驗性紀錄片。該導演在1970年代女性主義運動開始風起雲湧的時候就嶄露頭角。打著「個人即政治」的標語，在普遍認為基進議題應當用基進手段抗爭的時候，蘇・弗迪胥的作品反而塑造了另一種可能，並反問基進議題有沒有可能用相對溫和的手法以柔克剛？

紀錄片採第一人稱自述的方式，透過一名女性的視角，以極私我的口吻述說自己與女友在感情維繫、分手前後，兩人共同持有的1983年奧斯摩比旅行車，成了某種意味深長的「物件」。人與人之間確實很容易將情感、記憶寄託在某個物件上，並非有意為之，而物件一旦不知覺地被情感攀附住後，便很難隨意剝除。這樣一個日常化的物件在戀愛關係告終後，反倒成了人們目光追索的的無限循環。

舊情人倆協議把車輪流著開，尤其是其中一人出城工作時，車子便交接給另一人，回城後反之。主述者說她常常猜想前女友開著車去哪了呢？或許只是去超市買鮮奶和報紙，抑或是帶著新女友上海邊去了。但猜想不過徒勞，因為每次「交接」對方幾乎沒留下蛛絲馬跡，只有偶爾留下空的咖啡外帶紙杯，和盛滿煙灰的煙灰缸。分手後彼此仍盡可能貼心，敘述者表示每次都將菸灰清理乾淨再搖下車窗透氣，確保下次「交接」能讓前女友的健康無憂，以及充滿清新舒爽的空氣。

還有前女友不關收音機的習慣，待「交接者」車子發動的瞬間，音樂便橫衝直撞地出來，恰巧和片中穿插紐約街頭影像和流行音樂的手法意外契合，沒有因果、承接順序、開始或結束，所有影像和配樂都魯莽地奔進觀眾的視線與耳膜，再莫名其妙地嘎然而止。

映後講者王君琦老師也提到，本片中仍可看到弗迪胥擅長的實驗電影美學，打破了影像服務於故事的型態，真正嘗試用電影說電影，於拍攝手法上著重更自然、不刻意搭設的攝影機運軌，如片中絕大多數的運鏡都是手提來去，畫面晃動卻意外與光影、車子的震動結合，形成另一種朦朧暈眩的美感。意念傳達上也較不注重因果或某個物件絕對的象徵意義。當然每個片段的擷取固然有其重要，但毋須特地連結到某個大敘述的總論和教條，而是能順著每時每刻的感覺走，就像在觀看「骨牌」過程的起伏與瞬間變化。

該片其實只有短短三十分鐘左右，速寫出敘述者主觀經驗對車子所寄託的自由、歸屬感，以及過去相戀的痕跡。頻繁出現的1983年奧斯摩比旅行車，除了顯現失戀者茫然、不理智地張目探尋，也讓觀眾，至少我，在某些時刻內心好像被緊緊揪住了。

Rules of the Road (1993) is an experimental documentary film directed by American director Su Friedrich. Friedrich has showcased her talent in film-making when the feminist movement started to rise in the 1970s. At the time when it was widely believed that people should take up radical strategies to fight against radical issues, claiming that "the personal is political," Su Friedrich created another possibility with her work to question if it was possible to approach the issues with milder methods instead.

Adopting a first-person narrative method, the documentary tells the story from a female's perspective in an extremely personal tone, describing how the 1983 Oldsmobile station wagon co-owned by the narrator and her ex-girlfriend becomes an object of significance during their relationship and after the breakup. It is easy for people to imprint their feelings and memories on a certain object subconsciously, and emotional attachments are difficult to wear off once established on the object. However, an infinite loop is thus born because people keep going back to look for such an everyday object when the relationship has come to an end.

Two ex-lovers agree to take turns using the automobile. Especially when one of them is out of town for work, the car is handed over to the other, and vice versa. The narrator often wonders where her ex-girlfriend goes--, maybe she just heads out to the supermarket for some milk and newspaper, or take her new girlfriend to the beach. Still, these are only futile guesses because there is no trace to be found every time the car comes back, leaving only some empty take-out coffee cups and an overloaded ashtray. They still show care for each other after the breakup, and the narrator says she cleans up the cigarette ashes every single time and rolls down the car widows to make sure that nothing harms her ex-girlfriend's health, and that the air inside the car is always fresh when the next "handover" happens.

Also, the narrator's ex-girlfriend is in the habit of leaving the car radio on. When the next "taker starts the engine, the music surges through the car, which happens to echo the strategy interspersing the New York street footage and pop music in the film. There is no introduction, transition, causation, or conclusion; all the footage is impertinently exposed in front of audiences' eyes, the music rushing into their ears, and everything perplexingly ends abruptly.

Professor Chun-Chi Wang also mentioned in the after-screening discussion that Friedrich specializes in the aesthetics in experimental films, which is reflected in this film. It breaks the rule that visual is at the service of audio; rather, Friedrich really manages to talk about films with films. Emphasizing on more natural shooting strategies and without deliberately arranged tracking shots, she shoots most shots with portable cameras; the shaking frames accidentally unifying with light, shadow, and the car wobbling presents beauty of haziness. The conveyance of the film's motif does not focus on its cause and effect or offering symbolical meaning of a certain object. Certainly every frame has its significance, but it does not always have to be associated with a pandect or doctrines of some grand narrative. Instead, it follows every moment's natural courses, like watching every fall and change of dominoes.

This short thirty-minute short gives out a quick sketch on the narrator's subjective experience of freedom, a sense of belonging, and traces of past love that are laid on the car. The constant existence of the 1983 Oldsmobile station wagon not only shows an unrequited lover's blank and irrational search but also at some moment tug audiences' (at least my) heartstrings.

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作者簡介 |

李翊彤

新莊人，目前就讀國立東華大學華文文學系二年級，偏好徒步遠行，看看電影，練練筆。期許沐浴在東台灣山海間能汲取創作靈感，以更好好地寫出像是作者簡介一類的東西。

譯者 | 呂岳芳

編修 | 葉吉書校譯

Author | Li Yi-Tung

Translator | Lu Yueh-Fang

Editor | Nick Yeh

影評：被監禁的女人 | Film Review: A Woman Captured

《被監禁的女人》

─ 從揭發到介入，激起紀錄片的潛在力量。

匈牙利導演貝納黛特里特(Bernadett Tuza-Ritter)的紀錄片《被監禁的女人》為她的第二部長片執導作品，這部入圍今年歐洲電影獎最佳紀錄片的電影，揭露了當地幫傭瑪莉許長期被雇主壓榨、剝削的故事，里特同時身為觀察者與創作者，以最直接的角度帶領觀眾聆聽這位蒼老的女士，訴說那些不為人知的悲傷血淚。

觀賞《被監禁的女人》的過程令人感到奇特，首先里特被瑪莉許雇主授權進屋拍攝的情形似乎不太合理，但我們隨後也得知到里特的這些拍攝權力，都是由金錢換來了。從這看到本片無論鏡前鏡後、導演、幫傭與雇主之間，都存在著金錢主導的關係，同時這位雇主雖沒露臉，但她的斂財性格也因此被我們看的一覽無遺，里特找到了一個創作者兼參與者的合適位置，且就是因為這種夾在中間的關係，電影才擁有能捕捉兩邊說法的「特權」，這讓觀眾更容易體會到瑪莉許經歷的威脅感。

雇主收錢讓里特來揭發自己惡行的行為，在外人眼中實在矛盾，但當我們看到她毫不顧忌的在鏡頭前講著自己虛假的友善，以及警察不受理這種案件的事實時，這種「不合理的常態」讓觀眾明白匈牙利社會對此種人權侵害的不重視，最終，里特的這部紀錄片不只表現了單一雇主關係之間的問題，它講了更大的社會問題。

《被監禁的女人》時時被緊張氛圍包覆，這一方面是雇主給予瑪莉許的脅迫感，另一方面，則是這部電影本身帶有的重大使命感。本片的成功，不僅是因為這樣的題材重要，且具有社會影響力，對觀眾而言更直接的，是瑪莉許和攝影機的關係。鏡頭和里特，彷彿是她這些痛苦的唯一出口，因此，我們接收到的情緒必定脫不開私人的沉重與絕望感。但電影最後三分之一，簡直是種觀眾的解脫，里特不僅做到捕捉與敘述，她的角色已超越單純的觀察者，鏡頭前後的兩人搭起了感情和信任，而這也不僅是她倆的事情，觀眾也是重要的一環，畢竟里特之所以鼓勵、幫助瑪莉許逃跑，是因為「拍出電影」本身的推力。當我們看到瑪莉許說出「我只信任妳一個人了」和最後兩人擁抱的畫面後，這段親密的感情已被觀眾見證，在瑪莉許成為逃走後，臉上的真實情緒不會騙人。

《被監禁的女人》讓觀眾看到電影的力量，攝影機的功能除了記錄以外，這些影片的影響力，更成為創作者最大的拍攝動力，它使里特與瑪莉許走了很長的一段路，這路途不單單成就了本片的藝術性，也使兩人的腳印為這世界發出了重要的聲音，就此我們看到了電影在二十一世紀的重要，就像瑪莉許在片中說的「就算妳只放映一次，我也要讓世人知道，這樣對待他人是不對的」。

A Woman Captured

─ Unveil and Intervene to Inspire the Potential of Documentaries.

"A Woman Captured" is Hungarian filmmaker Bernadett Tuza-Ritter's second full-length documentary. The film was nominated by the European Film Awards for Best Documentary. This documentary unveils a local maid -"Marish" who has been oppressed and exploited by her employer for many years. Ritter was both an observer and a filmmaker, and used the most straightforward perspective to lead viewers to listen to this hoary woman describe her hidden pain and plight.

It is definitely a peculiar experience to watch "A Woman Captured" At first, it seems unreasonable for Marish's employer to allow Ritter to film inside the house. But we later discovered that Ritter paid cash in exchange for authorization to film. Throughout the film, either behind or in front of the scenes, money led the relationship between the filmmaker, the maid, and the employer. Although the employer's face is never shown in the film, the employer's greedy desire to make money is crystal clear. Ritter found a suitable position as both creator and participant. This gives her the "privilege" to capture the stories from both sides and enables the viewers to more easily comprehend the perils experienced by Marish.

The employer accepted money and allowed Ritter to expose the cruelties. This may appear contradictory in the eyes of outsiders. However, when we see the employer openly talk about the insincere kindness and how the police do not deal with such issues in front of the camera, these "unreasonable norms" allow viewers to realize that Hungarian society does not pay much attention to similar human rights violations. In the end, Ritter's documentary not only portrays an individual employer/employee issue, it also describes a much larger social problem as well.

"A Woman Captured" immerses viewers into tension caused by the employer's threats against Marish. On the other hand, the film itself also has a strong mission. The success of this film lies not only in the importance of the topic, but also on the social impacts as well. Marish's relationship with the camera is what brings such impacts directly to viewers. The camera and Ritter seem to be Marish's only hope of escape from misery. Thus, the emotions felt by the viewers no doubt involve intimate burdens and despair. Viewers are relieved of the tension during the final third of the film. Ritter not only captures and narrates, her role also exceeds that of a pure observer. The people behind and in front of the camera have established friendship and trust. The matter no longer just evolves between the two, and the viewers also play an important role because the "making of the film" is what drove Ritter to encourage and assist Marish to escape. When Marish said, "You are the only one I trust" and the two embraced each other at the end - viewers can witness the intimacy of this relationship. After Marish's escape, her facial emotions can only be described as authentic.

"A Woman Captured" allows viewers to see the power of movies. The camera does more than just record, and the impacts of this film have become the biggest film-making motivation for the creator. They motivated Ritter and Marish to go on a long journey that not only reveals the artistry of this film, but their footsteps have also presented an important voice to the world as well. Through this film, we can see the significance of movies in the 21st century. Like Marish said in the film, "Even if you just show this film once, I want the world to know that no one deserves to be treated like this."

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作者簡介|

山卓

生於兩千世代(也是電視、DVD的時代)，多年的影迷，相信自己被電影藝術教育，時常因追院線或影展台北花蓮兩地跑，現階段幾乎只有觀影和寫作可以完全發揮到專注力，平常除了每天看片以外，也會在臉書專頁寫電影評論，對於這種思考的鍛鍊感到有所收穫。自在的一位師長。

About the author|

Sandra

Born after the year 2000 (also known as the TV and DVD generation) and a big move fan for years, Sandra believes that she has been educated by film artistry. She often travels back and forth between Taipei and Hualien just to catch the latest movies or film festivals. At present, it appears that only film reviews and writing can fully capture her focus. Apart from reviewing films every day, she also writes film reviews on her Facebook page. She receives a great sense of accomplishment from such critical thinking and training opportunities.

譯者 Translator | 玴圖翻譯 ETU Translation Co.

編修 Editor | 斯安竹 Andrew Smith