記錄 X 記憶：空間

當攝影機確定位置架上腳架，一個與現實空間有所區別的「電影空間」（場景）就產生了，通常當人物走進這個場景，故事就開始了。但是如果沒有人走進來呢？有時候，空間本身就具有歷史意義；有時候，空間成為個人心理的隱喻；也有時候，空間就是電影。本單元選擇了十部以空間作為被攝者或是敘事主體的影片，討論記憶如何賦予空間意義，而電影又如何運用空間來重現或創造記憶。

策展人│吳凡

是否顯示

是

代表圖片

Traces of an Invisible City: Three Notes on Hong Kong

Visualising the visible/invisible boundaries of socio-spatial stratifications, the film presents urban space in Hong Kong as a vivid showcase of the hidden logics of today’s world cities. The film contains three chapters—global, local, and border spaces—to illustrate the tension among their visual existence, function and ownership, and how the city’s public space has been constructed, used, owned, and interpreted.

On Broadway

Recorded during fall 2008 inside a basement ‘mosque’ in downtown Manhattan. This film endeavours to re-examine the relation between time and space, a subtle investigation of the ordinary spaces that transform and transition between the playful and the sacred.

What Remains

The household of a Lisbon family is disbanded after a century. While the camera accompanies the further path of the furniture and objects left behind, a fragmentarily mounted exchange of letters off-screen bears witness to personal and historic tragedies.

A Home in Memory

What is it like to abandon a home which carries traces from several generations? The short film shows an almost 300-square-metre apartment in the very centre of Helsinki and how it is being emptied, picture by picture.

Omarska

Despite several requests from survivors, there is no memorial for the killed victims at Omarska concentration camp near Prijedor, Bosnia–Herzegovina, and the site of the camp is now a steel manufacturing factory. Once in a year, the premises are open to public for the commemoration. The film intends to construct a memorial in 3D animation from the archive images, videos, recent photographs, guided by the testimonies of the survivors of the camp.

Salam Godzilla

Shot inside Cinema Salam and in the surroundings of Agadir, Morocco, the film revisits the destructive 1960 Agadir earthquake through archives, seismic data, and a local poem interpreted by singer Ali Faiq. Geological anxieties surface in the dinosaur footprints on a nearby beach, echoing the strange coincidence that the film screened in the cinema on the night of the earthquake was Godzilla, King of the Monsters! (1956), a famous figure of post-apocalyptic days.

The Impossibility of Knowing

This film revisits locations where crimes or accidents have taken place, to find out if these places can transcend time to engender their own significance. With the barest of details gleaned from contemporaneous news clippings, the filmmaker reconstructs the incidents via a dry voice-over. The film is narrated by LIM Kay-tong, the presenter for a Singaporean true crime series, Crime Watch.

Night and Fog (Digital Restoration)

A classic 1956 French documentary short, fully restored. Directed by Alain RESNAIS in collaboration with scriptwriter Jean CAYROL, a survivor of the Mauthausen-Gusen concentration camp himself, the film features the abandoned grounds of Auschwitz and Majdanek established in occupied Poland, while describing the lives of prisoners in the camps. The title is taken from the Nacht und Nebel program of abductions and disappearances decreed by Nazi Germany.

Victory Day

On 9 May every year, people gather in Treptower Park in Berlin. They come dressed in their best outfits or in Soviet military uniforms, carrying flags, banners, and posters. They lay flowers at the monument to the Soviet soldier, singing, dancing, and drinking to celebrate the victory of the Soviet Union over Nazi Germany. The film is a direct reportage from Treptower Park, 72 years after the victory.

Ceuta's Gate

Ceuta’s Gate is a series of reconstructions and theatrical re-enactment, within a studio set, of the diverse situations in Ceuta, an autonomous Spanish enclave in the north of Morocco, opposite Spain. This space is the stage of cross-border exchanges of all kinds, observed from various perspectives.

Documemory: Space and Place

When a camera starts rolling, a film space—different from the real space—is created. A story usually begins when the main characters enter the film space, but sometimes the space is a character itself. This programme selects 10 documentary films that focus on the role or use of space. They present elusive memories by framing places and creating cinematic scenes.

Curator│Fan WU