紀錄之蝕：影像跨界的交會

In bustling Hong Kong, people are busy rushing about from day to night constantly, and we all wallow in it. A monk-like walker in red robe with bread and plastic bag in hand goes through the city slowly. From sunrise to sunset, the walker passes through Hong Kong with the abnormal speed. Every step he makes just like a careful consideration. It seems that the walker is enjoying the discipline of the interlaced steps.

During the Japanese occupation of Taiwan, the shipyard on Hoping Island was the important base to support Japan’s southward expansion. THE STORY OF HOPING ISLAND juxtaposes the shipyard scene, a grandmother’s voiceover, electronic music, and a carved pattern. Through the composition and cinematography, the images of the shipyard and the grandmother, and dual channels enable their stories to interact. Between the weightless image and the real space, the work creates a layer of illusion and reality, which confuses the relationship between the dream presented on video and reality.

It’s associated with the Children Are Us Foundation. The characters wearing in casual sit in front of a black background to show the details of their behavior. The posture and gaze become the way of communication when language is absent. This film examines the psychological changes of watching and being watched between “the disable” and “the normal.”

My mother passed away 4 years ago. “Did she really vanish following her dead body?” I always think. Could I find the living traces of my mother if now is the sequel to the past? I have dreamed of my mother still alive then wailed to the ceiling when I waked up. I wanted to back to the dream. If image is the art close to dream then I’ll capture the dream of reality with image. “Do you want to stay in the dream or say good bye?” somebody asked. Both, I think. Now, I’ve left the pain and the sorrowful self in the film, forever.

In the film, all children’s actions came up while they closing eyes just like absentminded with no clear emotion anymore. Through the atmosphere, picture, scenario, and imagery, the filmmaker tries to manifest his private perceptual experience.