<?xml version="1.0" encoding="UTF-8"?><rss version="2.0"
xmlns:content="http://purl.org/rss/1.0/modules/content/"
xmlns:wfw="http://wellformedweb.org/CommentAPI/"
xmlns:dc="http://purl.org/dc/elements/1.1/"
xmlns:atom="http://www.w3.org/2005/Atom"
xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
xmlns:georss="http://www.georss.org/georss"
xmlns:geo="http://www.w3.org/2003/01/geo/wgs84_pos#"
>
<channel>
<title>沒有電影的電影節 – 貌似實驗室</title>
<atom:link href="https://www.mouse-lab.com/tag/%e6%b2%92%e6%9c%89%e9%9b%bb%e5%bd%b1%e7%9a%84%e9%9b%bb%e5%bd%b1%e7%af%80/feed/" rel="self" type="application/rss+xml" />
<link>https://www.mouse-lab.com</link>
<description>鑽研內容製作的新配方</description>
<lastBuildDate>Fri, 13 May 2016 02:26:57 +0000</lastBuildDate>
<language>zh-TW</language>
<sy:updatePeriod>
hourly </sy:updatePeriod>
<sy:updateFrequency>
1 </sy:updateFrequency>
<generator>https://wordpress.org/?v=5.4.6</generator>
<image>
<url>https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2018/03/cropped-mouse_logo.jpg?fit=32%2C32&ssl=1</url>
<title>沒有電影的電影節 – 貌似實驗室</title>
<link>https://www.mouse-lab.com</link>
<width>32</width>
<height>32</height>
</image>
<site xmlns="com-wordpress:feed-additions:1">98958674</site> <item>
<title>【TIDF影展專題】《沒有電影的電影節》─ 在影展見證被「實體化」的困境</title>
<link>https://www.mouse-lab.com/2016/04/22/a_filmless_festival/?utm_source=rss&utm_medium=rss&%23038;utm_campaign=a_filmless_festival</link>
<comments>https://www.mouse-lab.com/2016/04/22/a_filmless_festival/#respond</comments>
<dc:creator><![CDATA[chialinglai]]></dc:creator>
<pubDate>Fri, 22 Apr 2016 08:19:20 +0000</pubDate>
<category><![CDATA[TIDF影展專題]]></category>
<category><![CDATA[貌似放大鏡]]></category>
<category><![CDATA[影展]]></category>
<category><![CDATA[栗憲庭]]></category>
<category><![CDATA[沒有電影的電影節]]></category>
<category><![CDATA[王宏偉]]></category>
<category><![CDATA[綠色小組]]></category>
<category><![CDATA[維穩]]></category>
<guid isPermaLink="false">https://www.mouse-lab.com/?p=981</guid>
<description><![CDATA[「秩序至上」的國家氛圍中，在中國辦一場獨立作品的電影節，是否有可能？看著基金創辦人栗憲庭與策展人王宏偉在警局接受偵訊，而公司的十餘台電腦，與庫存的一共1500多部獨立導演的作品DVD直接被沒收。這些細節，協助我們拼湊出了「困境」這個抽象詞彙的實際長相。
]]></description>
<content:encoded><![CDATA[<p><span style="color: #808080;">「秩序至上」的國家氛圍中，在中國辦一場獨立作品的電影節，是否有可能？看著基金創辦人栗憲庭與策展人王宏偉在警局接受偵訊，而公司的十餘台電腦，與庫存的一共1500多部獨立導演的作品DVD直接被沒收。這些細節，協助我們拼湊出了「困境」這個抽象詞彙的實際長相。<br />
</span></p>
<p> </p>
<hr />
<p><span style="color: #000000;"><span id="more-981"></span></span><br />
<span style="color: #000000;">文 / TK</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">執筆《第五號屠宰場》的20世紀作家馮內果 (Kurt Vonnegut) 曾經說過：「『善』 沒有理由戰勝不了『惡』，只要天使們能像黑手黨一樣組織起來。」(There is no reason GOOD can’t triumph over EVIL, if only ANGELS will get organized along the lines of the MAFIA.) 這句話放進紀錄片脈絡，不一定指稱拿著攝影機的人為「善」，而被攝者為「惡」，但它或許帶出了一個更可貴的現實概念–想對抗，你就必須組織起來。</span></p>
<p> </p>
<div id="attachment_982" style="width: 667px" class="wp-caption aligncenter"><a href="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-22-at-3.44.07-PM.png"><img aria-describedby="caption-attachment-982" data-attachment-id="982" data-permalink="https://www.mouse-lab.com/2016/04/22/a_filmless_festival/screen-shot-2016-04-22-at-3-44-07-pm/" data-orig-file="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-22-at-3.44.07-PM.png?fit=657%2C407&ssl=1" data-orig-size="657,407" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Screen Shot 2016-04-22 at 3.44.07 PM" data-image-description="" data-medium-file="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-22-at-3.44.07-PM.png?fit=300%2C186&ssl=1" data-large-file="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-22-at-3.44.07-PM.png?fit=657%2C407&ssl=1" class="wp-image-982 size-full" src="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-22-at-3.44.07-PM.png?resize=657%2C407" alt="Screen Shot 2016-04-22 at 3.44.07 PM" width="657" height="407" srcset="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-22-at-3.44.07-PM.png?w=657&ssl=1 657w, https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-22-at-3.44.07-PM.png?resize=300%2C186&ssl=1 300w, https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-22-at-3.44.07-PM.png?resize=250%2C155&ssl=1 250w" sizes="(max-width: 657px) 100vw, 657px" data-recalc-dims="1" /></a><p id="caption-attachment-982" class="wp-caption-text">影像來源：TIDF</p></div>
<p> </p>
<h3><span style="color: #000000;"><b>抵抗主流：相似的歷史片刻</b></span></h3>
<p><span style="font-weight: 400; color: #000000;">臺灣曾經在解除戒嚴時期有一個名為「綠色小組」的團隊四處記錄下了各種社會運動的第一手實況。在臺灣民間動盪的1986年至1990年，成功捕捉到了當時社會的脈搏，留下難得的影像。礙於當時政府從上至下的嚴密搜查，所有的影片素材，只能在一些秘密的地方（比如傳說中的「民主香腸攤」）以影帶 (VHS) 的方式私下傳閱。若一不小心讓影帶流出，在當時還會被政府的思想審查大隊查禁沒收。因此對於黨政軍三台新聞頻道（當時的主流視角）以外，想瞭解另一個角度、另一種視野的觀眾，就得去偷偷打聽這些秘密影帶的下落，不然只得無從選擇地接受這些「被過濾」的唯一資訊。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">因此「『綠色小組』是誰？他們做過些什麼？」這些問題，在臺灣民間始終是一個謎。許多人聽說過，但從未看過。有些人看過他們的影帶，但在當時的政治氛圍，不願承認。也有人因為被查到蒐集這些影像，遇上了難以擺脫的麻煩。其實回想這一切，也不過是不到30年前的事，尚未完全遠離我們今日的生活脈絡。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">當我們帶著這樣的脈絡再回頭看《沒有電影的電影節》，或許也得以想像中國未來的十年、二十年，想像這個國家可能會經歷怎樣的轉變？</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">本屆TIDF策展人林木材，曾在幾年前現場親身參與這場影展後，在第34期紀工報上，對於自己所處之地生出了深刻的省思。</span></p>
<p> </p>
<blockquote><p><span style="color: #000000;"><strong>參與了許多場大大小小的座談會、論壇，主題包括了拍攝課題，獨立電影定義，影展的走向等等。我身為一個局外人、外國人，自己心中最深的感觸是──雖然外在環境險峻，但他們心中的火焰是如此熱切，求知慾竟這樣強烈。某些主題在國外或西方早已有定見或豐富討論，但因『語境』的不同，大環境的政治社會情勢不同，中國獨立電影應有自己的脈絡傳統可循。無論如何，關於影像的思索及問題，終究必定要親身經歷與討論，才能得到自己的答案，推促成進步，累積成智慧，如此才能避免只是抄襲他方他人，而能真正從自己的土壤中，生長出美麗的文化之花。</strong></span></p></blockquote>
<p><span style="color: #000000;">這一份深刻的省思，或許也是身為台灣的創作者一份子，面對相對自由、開放的社會氛圍，最真實的對鏡。若說每位觀眾進到戲院，將帶走他們各自需要的東西，於臺灣的觀眾，於你，會是些什麼呢？</span></p>
<p> </p>
<div id="attachment_966" style="width: 655px" class="wp-caption aligncenter"><a href="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.57.19-PM.png"><img aria-describedby="caption-attachment-966" data-attachment-id="966" data-permalink="https://www.mouse-lab.com/2016/04/15/tidf_mouselab_selection/screen-shot-2016-04-15-at-2-57-19-pm/" data-orig-file="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.57.19-PM.png?fit=1201%2C790&ssl=1" data-orig-size="1201,790" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Screen Shot 2016-04-15 at 2.57.19 PM" data-image-description="" data-medium-file="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.57.19-PM.png?fit=300%2C197&ssl=1" data-large-file="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.57.19-PM.png?fit=817%2C538&ssl=1" class="wp-image-966 " src="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.57.19-PM-1024x674.png?resize=645%2C425" alt="Screen Shot 2016-04-15 at 2.57.19 PM" width="645" height="425" srcset="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.57.19-PM.png?resize=1024%2C674&ssl=1 1024w, https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.57.19-PM.png?resize=300%2C197&ssl=1 300w, https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.57.19-PM.png?resize=250%2C164&ssl=1 250w, https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.57.19-PM.png?resize=960%2C631&ssl=1 960w, https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.57.19-PM.png?w=1201&ssl=1 1201w" sizes="(max-width: 645px) 100vw, 645px" data-recalc-dims="1" /></a><p id="caption-attachment-966" class="wp-caption-text">影像來源：TIDF（王我《沒有電影的電影節》）</p></div>
<p> </p>
<h3><b>「困境」的長相</b></h3>
<p><span style="font-weight: 400; color: #000000;">中國2009年花在「維穩」上的開支高達5140億元人民幣，而這年的軍費支出是5321億元。在官方新聞常見的這幾個詞彙互換：發展、和諧、維穩，直到今日2016年，觀看完這部紀錄片，我們或許會更好奇：所謂維穩，到底是怎麼樣的「穩定」？對誰而言的「穩定」？梁文道在《關鍵字》一書談到這個議題，更進一步追問：「既然穩定是個狀態，那麼我們也應該了解衡量它的方法，表示從極穩定到極不穩定之間的各項指標？」</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">在藝術創作的領域上，與「維穩」產生的衝擊，照實搬上螢幕會是什麼樣子？</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">在這部紀錄片中，導演王我透過結合不同人手機、攝影機側拍（有些是偷錄）的素材，集合成一處，嘗試從影展的上半場（開幕式）與下半場（閉幕式），側寫這次「被取消的影展」事發的過程，包含特別的落幕儀式，獨具今日中國創作界的寫實處境。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">栗憲庭電影基金創辦人在片中說道：「我們沒有要對抗什麼，只是想提供給獨立導演一個平台，其實就是這樣很簡單的事情，我們爭取的就是讓每一位導演可以自由地拍攝，然後有一個小地方讓大家來討論、探討，在學術範圍內來討論這些獨立電影。」這段看似天真，同時悲觀，卻也懷著希望的企求，幾乎成為了當代中國獨立影像工作者的縮影。</span></p>
<p> </p>
<div id="attachment_984" style="width: 668px" class="wp-caption aligncenter"><a href="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-mei_you_dian_ying_de_dian_ying_jie_.jpg"><img aria-describedby="caption-attachment-984" data-attachment-id="984" data-permalink="https://www.mouse-lab.com/2016/04/22/a_filmless_festival/f_ju_zhao_1-mei_you_dian_ying_de_dian_ying_jie_/" data-orig-file="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-mei_you_dian_ying_de_dian_ying_jie_.jpg?fit=700%2C415&ssl=1" data-orig-size="700,415" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="f_ju_zhao_1-mei_you_dian_ying_de_dian_ying_jie_" data-image-description="" data-medium-file="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-mei_you_dian_ying_de_dian_ying_jie_.jpg?fit=300%2C178&ssl=1" data-large-file="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-mei_you_dian_ying_de_dian_ying_jie_.jpg?fit=700%2C415&ssl=1" class="wp-image-984 " src="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-mei_you_dian_ying_de_dian_ying_jie_.jpg?resize=658%2C390" alt="f_ju_zhao_1-mei_you_dian_ying_de_dian_ying_jie_" width="658" height="390" srcset="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-mei_you_dian_ying_de_dian_ying_jie_.jpg?w=700&ssl=1 700w, https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-mei_you_dian_ying_de_dian_ying_jie_.jpg?resize=300%2C178&ssl=1 300w, https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-mei_you_dian_ying_de_dian_ying_jie_.jpg?resize=250%2C148&ssl=1 250w" sizes="(max-width: 658px) 100vw, 658px" data-recalc-dims="1" /></a><p id="caption-attachment-984" class="wp-caption-text">影像來源：TIDF（王我《沒有電影的電影節》）</p></div>
<p> </p>
<h3><strong>在影展見證被「實體化」的困境</strong></h3>
<p><span style="color: #000000;"><span style="font-weight: 400;">由於政府的高強度維穩，預防「不確定性高」的聚眾行為，栗憲庭電影基金嘗試在體制內某種程度與政府達成心照不宣的「妥協」：透過工作人員以口耳相傳的方式，秘密告知放映時間，並同時謹慎避免消息走洩；搭配另一個「人人都是放映員」的計劃</span><span style="font-weight: 400;">——</span><span style="font-weight: 400;">將所有參展影片壓縮到防拷光碟中，只要有一台電腦就能隨時觀看的游擊戰法，提供給工作者做專業的討論，同時收集他們的反饋與專業論述。如此面對威脅、壓力下的堅持，這群工作者在螢幕上展現難以掩蓋的旺盛企圖心，超越了我們對「影展」一詞的想像。</span></span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">「秩序至上」的國家氛圍中，在中國辦一場獨立作品的電影節，是否有可能？看著基金創辦人栗憲庭與策展人王宏偉在警局接受偵訊，而公司的十餘台電腦，與庫存的一共1500多部獨立導演的作品DVD直接被沒收。這些細節，協助我們拼湊出了「困境」這個抽象詞彙的實際長相。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">「你們不是警察嗎？怎麼就只是看著，不管？」</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">我印象特別深刻其中一段影像，圍觀的民眾看著一位影像工作者遭圍事的「村民」暴力對待，質問在場觀看事件發生的警察，沮喪的那句話：「你們不是警察嗎？怎麼就只是看著，不管？」</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">隨著影片的進行，到最後結尾的字幕滾輪，這句無奈的質問，依然迴盪在腦海。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">十年後，或許在一個完全不一樣的中國，我們會如何評價這部紀錄片？可能會有跟今天不一樣的答案。而在此刻，它被選為影展單元的作品之一，對於「在中國暗自生產，在臺灣侃侃而談」這個描述的「實體化」，已有了它獨特的位置。</span></p>
<p> </p>
<p> </p>
<p><span style="color: #000000;"><span style="font-weight: 400;">註：本屆TIDF正好也會重新推出數位修復版的「綠色小組」專題，這群已六十餘歲的工作者也將有興趣的觀眾，重新體驗一次那段歷史時刻臺灣初生的民主浪潮。詳見資訊：<a href="http://www.tidf.org.tw/zh-hant/category/shows/4961">台灣切片｜如果紀錄有顏色：綠色小組30週年</a></span></span></p>
<p> </p>
<p> </p>
]]></content:encoded>
<wfw:commentRss>https://www.mouse-lab.com/2016/04/22/a_filmless_festival/feed/</wfw:commentRss>
<slash:comments>0</slash:comments>
<post-id xmlns="com-wordpress:feed-additions:1">981</post-id> </item>
<item>
<title>【TIDF影展專題】記憶的理解與共鳴：一份貌似看過的中國獨立紀錄片單</title>
<link>https://www.mouse-lab.com/2016/04/15/tidf_mouselab_selection/?utm_source=rss&utm_medium=rss&%23038;utm_campaign=tidf_mouselab_selection</link>
<comments>https://www.mouse-lab.com/2016/04/15/tidf_mouselab_selection/#respond</comments>
<dc:creator><![CDATA[chialinglai]]></dc:creator>
<pubDate>Fri, 15 Apr 2016 07:19:20 +0000</pubDate>
<category><![CDATA[TIDF影展專題]]></category>
<category><![CDATA[貌似放大鏡]]></category>
<category><![CDATA[二十四]]></category>
<category><![CDATA[大路朝天]]></category>
<category><![CDATA[影]]></category>
<category><![CDATA[沒有電影的電影節]]></category>
<category><![CDATA[調查父親]]></category>
<guid isPermaLink="false">https://www.mouse-lab.com/?p=958</guid>
<description><![CDATA[看了網站或手冊的劇情簡介，還是不確定該看哪部嗎？別煩惱，貌似編輯台已經整理好這份片單，精選「敬！華語獨立紀錄片」及「民間記憶計劃」焦點單元的作品，也分享為什麼我們覺得這部片值得看！]]></description>
<content:encoded><![CDATA[<p><span style="color: #808080;">看了網站或手冊的劇情簡介，還是不確定該選哪部嗎？別煩惱，貌似編輯台已經整理好這份片單，精選「敬！華語獨立紀錄片」及「民間記憶計劃」焦點單元的作品，也分享為什麼我們覺得這部片值得看！</span></p>
<hr />
<p><span style="color: #000000;"><span id="more-958"></span></span><br />
<span style="color: #000000;">文 / 貌似編輯台</span></p>
<p> </p>
<h3><span style="color: #000000;"><b>姜紀傑《二十四》── 如同無法抓住的昨日<br />
</b></span></h3>
<p> </p>
<div id="attachment_960" style="width: 710px" class="wp-caption aligncenter"><a href="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_er_shi_si_-still_02.jpg"><img aria-describedby="caption-attachment-960" data-attachment-id="960" data-permalink="https://www.mouse-lab.com/2016/04/15/tidf_mouselab_selection/f_er_shi_si_-still_02/" data-orig-file="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_er_shi_si_-still_02.jpg?fit=700%2C415&ssl=1" data-orig-size="700,415" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="f_er_shi_si_-still_02" data-image-description="" data-medium-file="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_er_shi_si_-still_02.jpg?fit=300%2C178&ssl=1" data-large-file="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_er_shi_si_-still_02.jpg?fit=700%2C415&ssl=1" class="wp-image-960 size-full" src="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_er_shi_si_-still_02.jpg?resize=700%2C415" alt="f_er_shi_si_-still_02" width="700" height="415" srcset="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_er_shi_si_-still_02.jpg?w=700&ssl=1 700w, https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_er_shi_si_-still_02.jpg?resize=300%2C178&ssl=1 300w, https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_er_shi_si_-still_02.jpg?resize=250%2C148&ssl=1 250w" sizes="(max-width: 700px) 100vw, 700px" data-recalc-dims="1" /></a><p id="caption-attachment-960" class="wp-caption-text">影像來源：TIDF（姜紀傑《二十四》）</p></div>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">拍《二十四》的姜紀傑，1993年，剛大學畢業，這是他的第一部紀錄片。他回到了家鄉，拍攝自己的鄰居，或許也是他被掃進記憶深處的人生片段。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">74分鐘，你會通過導演姜紀傑的眼睛，旁觀一對中國鄉村的雙胞胎姐妹退學之後的無聊人生。春夏秋冬，四季漫長。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">這確實是一部無聊的紀錄片。沒有要突出的人物，沒有要講述的事件，沒有要揭露的傷疤，只是有時間流過。這時間的質感於城市人而言大概是陌生的，它散漫無章，不肆意也不迅疾，如同無法抓住的昨日。而這種感覺，也正是姜紀傑所要紀錄的。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">與大部分關注中國當代鄉村的紀錄片不同，《二十四》的畫面乾淨，聲音安靜，打破了人們對「鄉村」的慣常想像。當然，這個「打破」並不暴烈。它彷彿一條沉默的大河，一次又一次地拍向岸邊，一點又一點地把堅硬的石頭磨出光滑的一面，讓人們再次看到鄉村。（推薦人：胡璇藝 ）</span></p>
<p> </p>
<p> </p>
<h3><span style="color: #000000;"><b>張贊波《大路朝天》── 自底層視角扣問高速發展</b></span></h3>
<p> </p>
<div id="attachment_962" style="width: 710px" class="wp-caption aligncenter"><a href="https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_da_lu_zhao_tian_-still_01.jpg"><img aria-describedby="caption-attachment-962" data-attachment-id="962" data-permalink="https://www.mouse-lab.com/2016/04/15/tidf_mouselab_selection/f_da_lu_zhao_tian_-still_01/" data-orig-file="https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_da_lu_zhao_tian_-still_01.jpg?fit=700%2C415&ssl=1" data-orig-size="700,415" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="f_da_lu_zhao_tian_-still_01" data-image-description="" data-medium-file="https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_da_lu_zhao_tian_-still_01.jpg?fit=300%2C178&ssl=1" data-large-file="https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_da_lu_zhao_tian_-still_01.jpg?fit=700%2C415&ssl=1" class="wp-image-962 size-full" src="https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_da_lu_zhao_tian_-still_01.jpg?resize=700%2C415" alt="f_da_lu_zhao_tian_-still_01" width="700" height="415" srcset="https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_da_lu_zhao_tian_-still_01.jpg?w=700&ssl=1 700w, https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_da_lu_zhao_tian_-still_01.jpg?resize=300%2C178&ssl=1 300w, https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_da_lu_zhao_tian_-still_01.jpg?resize=250%2C148&ssl=1 250w" sizes="(max-width: 700px) 100vw, 700px" data-recalc-dims="1" /></a><p id="caption-attachment-962" class="wp-caption-text">影像來源：TIDF（張贊波《大路朝天》）</p></div>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">在中國流傳著一句俗諺：「要想富，先修路」。若說高速公路的壯盛是國家發展的重要指標，一條省級高速公路的誕生，會牽連著哪些故事？看似表面是拍攝一條高速公路如何興建，卻同時呈現了當代中國社會複雜的層次。導演張贊波用鏡頭，為這段中國的時刻，留下備忘錄。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">當一則新聞標題變成數幅畫面，追求富強而修路的歷史軌跡，勢必也將在未來人們開著車走過這條公路時，一次次加深。《大路朝天》使得「中國特色」的建設故事，在拆遷、角力、勞工權益這幾個臺灣過去幾年發展主義下，屢次被挑戰、聚焦的領域，豐富了兩相參照的機會。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">中國大興土木，以高速的強力發展，從亞洲一躍而起。張贊波這次從底層的視角嘗試叩問。本片特別值得推薦的地方在於長時間蹲點詳實紀錄的人群面孔，面對「深知體制牢固，卻仍想在規則內奮力一搏」的種種生態。尤其幾處「現實卻同時富含諷刺」的趣味影像剪接，映照出在強大國家動員力下發展，同時又衝突、矛盾的壓抑心情，使得這些展現在舞台上繁榮的風馳電掣，背後暗潮洶湧的社會現實。嗅得到隱約傳達出來的幽默，卻也一陣酸楚。（推薦人：TK）</span></p>
<p> </p>
<p> </p>
<h3><span style="color: #000000;"><b>王我《沒有電影的電影節》── 既荒誕又寫實的中國藝術創作縮影</b></span></h3>
<p> </p>
<div id="attachment_927" style="width: 710px" class="wp-caption aligncenter"><a href="https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_3-mei_you_dian_ying_de_dian_ying_jie_.jpg"><img aria-describedby="caption-attachment-927" data-attachment-id="927" data-permalink="https://www.mouse-lab.com/2016/04/11/tidf_intro/f_ju_zhao_3-mei_you_dian_ying_de_dian_ying_jie_/" data-orig-file="https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_3-mei_you_dian_ying_de_dian_ying_jie_.jpg?fit=700%2C415&ssl=1" data-orig-size="700,415" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="f_ju_zhao_3-mei_you_dian_ying_de_dian_ying_jie_" data-image-description="" data-medium-file="https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_3-mei_you_dian_ying_de_dian_ying_jie_.jpg?fit=300%2C178&ssl=1" data-large-file="https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_3-mei_you_dian_ying_de_dian_ying_jie_.jpg?fit=700%2C415&ssl=1" class="wp-image-927 size-full" src="https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_3-mei_you_dian_ying_de_dian_ying_jie_.jpg?resize=700%2C415" alt="f_ju_zhao_3-mei_you_dian_ying_de_dian_ying_jie_" width="700" height="415" srcset="https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_3-mei_you_dian_ying_de_dian_ying_jie_.jpg?w=700&ssl=1 700w, https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_3-mei_you_dian_ying_de_dian_ying_jie_.jpg?resize=300%2C178&ssl=1 300w, https://i2.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_3-mei_you_dian_ying_de_dian_ying_jie_.jpg?resize=250%2C148&ssl=1 250w" sizes="(max-width: 700px) 100vw, 700px" data-recalc-dims="1" /></a><p id="caption-attachment-927" class="wp-caption-text">影像來源：TIDF（王我《沒有電影的電影節》）</p></div>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">一場藝術人之間的年度聚會，面臨被強迫停辦的命運。導演王我透過蒐集大量手機、攝影機偷拍蒐證的素材，還原整場事件的第一手過程。經歷了當局的「關心」，地方不知名人士的圍事甚至暴力衝突，到後來苦無結局的可預想結果。這部作品一一記錄的，可說是當今中國藝術創作的縮影。它如此荒誕，卻又寫實，讓我們重新得以體察身為一位在中國創作的影像工作者，需要面臨的究竟是怎樣的現實壓力。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">政府對民間維穩的高強度，暗示工作者生產「高確定性的作品」才不至遇上麻煩，這已是公開的秘密。在臺灣播放這部紀錄片，給了我們充足的視覺影像，豐富了我們對於中國獨立紀錄片工作者處境的想像。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">十年後，或許在一個完全不一樣的中國，我們會如何評價這部紀錄片？可能會有跟今天不一樣的答案。而在此刻，它被選為影展單元的作品之一，對於「在中國暗自生產，在臺灣侃侃而談」這個描述的「實體化」，已有了它獨特的位置。（推薦人：TK）</span></p>
<p> </p>
<p> </p>
<h3><span style="color: #000000;"><b>吳文光《調查父親》──「沒有跟國民黨到臺灣的人」</b></span></h3>
<p> </p>
<div id="attachment_964" style="width: 710px" class="wp-caption aligncenter"><a href="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-diao_cha_fu_qin_.jpg"><img aria-describedby="caption-attachment-964" data-attachment-id="964" data-permalink="https://www.mouse-lab.com/2016/04/15/tidf_mouselab_selection/f_ju_zhao_2-diao_cha_fu_qin_/" data-orig-file="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-diao_cha_fu_qin_.jpg?fit=700%2C415&ssl=1" data-orig-size="700,415" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="f_ju_zhao_2-diao_cha_fu_qin_" data-image-description="" data-medium-file="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-diao_cha_fu_qin_.jpg?fit=300%2C178&ssl=1" data-large-file="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-diao_cha_fu_qin_.jpg?fit=700%2C415&ssl=1" class="wp-image-964 size-full" src="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-diao_cha_fu_qin_.jpg?resize=700%2C415" alt="f_ju_zhao_2-diao_cha_fu_qin_" width="700" height="415" srcset="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-diao_cha_fu_qin_.jpg?w=700&ssl=1 700w, https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-diao_cha_fu_qin_.jpg?resize=300%2C178&ssl=1 300w, https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-diao_cha_fu_qin_.jpg?resize=250%2C148&ssl=1 250w" sizes="(max-width: 700px) 100vw, 700px" data-recalc-dims="1" /></a><p id="caption-attachment-964" class="wp-caption-text">影像來源：TIDF（吳文光《調查父親》）</p></div>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">國民黨與臺灣近代有千絲萬縷的糾葛，然而在討論這個「我們熟悉的國民黨」時，不免也好奇起，那群「沒有跟國民黨到臺灣的人」去哪兒了？「留下來的他們」人生故事有什麼不同？</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">吳文光的父親，就是「那個沒有跟國民黨到臺灣的人」。他1949年以後的人生，很沈默。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">至於出生就背著父親「前國民黨飛行員」這樣不利政治成份的吳文光，因為不清楚父親過往而無法認同他在現實中的軟弱，只記得當年輕的自己終於擺脫延續自父親的政治枷鎖，被「正確的道路」接受，獲准加入共青團時，有多麼自豪：「這是一個驕傲的時刻，表情很乾淨、眼神很未來」。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">兩相矛盾反差中，吳文光對父親歷史的回溯，也是一段更加認識自己的過程，而他透過檔案和鏡頭，還想要扣問那個被刻意隱瞞的時代，究竟是怎樣的？一頁頁的檔案對照父子兩代，這部片說父子的同時，也照映了時代裡某一群人青春伴苦澀、政治佐歲月的故事。（推薦人：惠宇）</span></p>
<p> </p>
<p> </p>
<h3><span style="color: #000000;"><b>崔誼《影》 ── 不用戲偶的皮影戲班，逐觀眾而搬演</b></span></h3>
<p> </p>
<div id="attachment_967" style="width: 662px" class="wp-caption aligncenter"><a href="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.59.38-PM.png"><img aria-describedby="caption-attachment-967" data-attachment-id="967" data-permalink="https://www.mouse-lab.com/2016/04/15/tidf_mouselab_selection/screen-shot-2016-04-15-at-2-59-38-pm/" data-orig-file="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.59.38-PM.png?fit=652%2C359&ssl=1" data-orig-size="652,359" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Screen Shot 2016-04-15 at 2.59.38 PM" data-image-description="" data-medium-file="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.59.38-PM.png?fit=300%2C165&ssl=1" data-large-file="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.59.38-PM.png?fit=652%2C359&ssl=1" class="wp-image-967 size-full" src="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.59.38-PM.png?resize=652%2C359" alt="Screen Shot 2016-04-15 at 2.59.38 PM" width="652" height="359" srcset="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.59.38-PM.png?w=652&ssl=1 652w, https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.59.38-PM.png?resize=300%2C165&ssl=1 300w, https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/Screen-Shot-2016-04-15-at-2.59.38-PM.png?resize=250%2C138&ssl=1 250w" sizes="(max-width: 652px) 100vw, 652px" data-recalc-dims="1" /></a><p id="caption-attachment-967" class="wp-caption-text">影像來源：TIDF（崔誼《影》）</p></div>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">21世紀的中國甘肅慶陽市環縣沒有文革，有的是振興民俗文化的省級大型藝文活動，環縣的中國道情皮影民俗爭優表彰大會也是其一。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">當地的皮影戲班逐觀眾而搬演，低薪且營運不易，有時甚至免費演出。在黃土地上的戲臺或簡易戲棚，築起黃光屏幕，使三根細桿，雕有鏤空紋飾戲偶每個關節都活絡起來。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">據言，當地的村長之所以為村長，就是在旱年以老道情為交換，在無神論者的國度，向神換了一年雨。道情皮影節偌大的展演場地，彰顯中國的地袤之廣、文藝歷史發展之源遠流長。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">這種恢宏氣勢，皮影戲班單調的白屏黃燈，與齊掌大、小家子氣的細雕偶可撐不起來；大會有的是七彩LED與仿皮影戲偶的木板巨偶。這裡的皮影師不操偶，穿著象徵皮影的鏤空紅背心，高唱歌頌黨輝煌治績的段子。皮影不用戲偶，在舞台燈照射巨屏背後的人，擬仿戲偶關節一板一板的動勢。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">黃土地上的戲班撐不起的不是觀光客的異地想像，而是一地對自身文化的販售。（推薦人：許鈺羚）</span></p>
<p> </p>
<p> </p>
<h3><span style="color: #000000;"><b>章夢奇《自畫像》── 對自我生命的重新質問和體悟</b></span></h3>
<p> </p>
<div id="attachment_968" style="width: 710px" class="wp-caption aligncenter"><a href="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-zi_hua_xiang_47gong_li_copy.jpg"><img aria-describedby="caption-attachment-968" data-attachment-id="968" data-permalink="https://www.mouse-lab.com/2016/04/15/tidf_mouselab_selection/f_ju_zhao_1-zi_hua_xiang_47gong_li_copy/" data-orig-file="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-zi_hua_xiang_47gong_li_copy.jpg?fit=700%2C415&ssl=1" data-orig-size="700,415" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="f_ju_zhao_1-zi_hua_xiang_47gong_li_copy" data-image-description="" data-medium-file="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-zi_hua_xiang_47gong_li_copy.jpg?fit=300%2C178&ssl=1" data-large-file="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-zi_hua_xiang_47gong_li_copy.jpg?fit=700%2C415&ssl=1" class="wp-image-968 size-full" src="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-zi_hua_xiang_47gong_li_copy.jpg?resize=700%2C415" alt="f_ju_zhao_1-zi_hua_xiang_47gong_li_copy" width="700" height="415" srcset="https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-zi_hua_xiang_47gong_li_copy.jpg?w=700&ssl=1 700w, https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-zi_hua_xiang_47gong_li_copy.jpg?resize=300%2C178&ssl=1 300w, https://i1.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_1-zi_hua_xiang_47gong_li_copy.jpg?resize=250%2C148&ssl=1 250w" sizes="(max-width: 700px) 100vw, 700px" data-recalc-dims="1" /></a><p id="caption-attachment-968" class="wp-caption-text">影像來源：TIDF（章夢奇《自畫像》）</p></div>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">從凝視家中三個相似命運的女人，到重拾父姓「丁奇」，踏入那個陌生、沒有父親蹤影、只留失聰爺爺尚在的村莊追索斷層的歷史，章夢奇的《自畫像》三部曲影像創作，不僅是一次時代苦難歷史的追問，更是她對她自我生命的重新質問和體悟。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">告別同病相憐的母系家庭，折返凝視早已缺席乃至遺忘的父輩血緣，迷路的「章夢奇」試著喚醒那個早已不知遺落何方的「丁奇」，「丁奇」試著找尋那些佝僂滄桑的陌生老人們對話，一個對往事一無所知的女孩對於「歷史記憶」的凝視觀點，也在三部作品的時光中成熟蛻變。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">究竟什麼才是「民間記憶」，什麼才是中國現代年輕人應該去追索拷問的「斷層記憶」，即使是工作中的創作者，也逃不開作為一個人的「生命成長」。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">於是，「歷史」變得不再虛無縹緲，「丁奇」也不再僅是一個被拋棄的名字，章夢奇也開始與這個村莊相知相識。（推薦人：和聲）</span></p>
<p> </p>
<p> </p>
<h3><span style="color: #000000;"><b>周浩《大同》── 以復興文化為名的建設計畫</b></span></h3>
<p> </p>
<div id="attachment_969" style="width: 710px" class="wp-caption aligncenter"><a href="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-da_tong_.jpg"><img aria-describedby="caption-attachment-969" data-attachment-id="969" data-permalink="https://www.mouse-lab.com/2016/04/15/tidf_mouselab_selection/f_ju_zhao_2-da_tong_/" data-orig-file="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-da_tong_.jpg?fit=700%2C415&ssl=1" data-orig-size="700,415" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="f_ju_zhao_2-da_tong_" data-image-description="" data-medium-file="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-da_tong_.jpg?fit=300%2C178&ssl=1" data-large-file="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-da_tong_.jpg?fit=700%2C415&ssl=1" class="wp-image-969 size-full" src="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-da_tong_.jpg?resize=700%2C415" alt="f_ju_zhao_2-da_tong_" width="700" height="415" srcset="https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-da_tong_.jpg?w=700&ssl=1 700w, https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-da_tong_.jpg?resize=300%2C178&ssl=1 300w, https://i0.wp.com/www.mouse-lab.com/wp-content/uploads/2016/04/f_ju_zhao_2-da_tong_.jpg?resize=250%2C148&ssl=1 250w" sizes="(max-width: 700px) 100vw, 700px" data-recalc-dims="1" /></a><p id="caption-attachment-969" class="wp-caption-text">影像來源：TIDF（周浩《大同》）</p></div>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">這是一場復興之夢，也是以復興文化為名，在大同進行的「建設」。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">做為一個產煤城市，大同的環境問題日益嚴重，經濟發展也受到大環境影響開始停滯。於是新上任的市長耿彥波，決定以大同留下的歷史古蹟為基礎，將大同轉型為文化城市。</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">當建設以歷史為名，開發與歷史的對立看似消除了，但終究只是把單一的觀點強加在這個城市。這樣創造出來的文化還是文化嗎?</span></p>
<p> </p>
<p><span style="font-weight: 400; color: #000000;">相較於許多以開發為主題的紀錄片，這部紀錄片難能可貴之處在於，能夠貼身記錄整個政策的執行過程和官員的心路歷程。因此不只是呈現了單一的觀點，除了支持與反對方的群眾，也帶入了官員的視角，讓這些官員不再只是一個神君，或是擾民的官員，他們也是體制之下的一個小螺絲釘。（推薦人：張國軒）</span></p>
<p> </p>
<p><span style="color: #000000;"><strong>同場加映：<a style="color: #000000;" href="https://www.mouse-lab.com/2016/04/14/tidf_village/">鄒家村系列五部曲 ─ 我的家鄉過去是什麼樣子呢？</a></strong></span></p>
<p> </p>
]]></content:encoded>
<wfw:commentRss>https://www.mouse-lab.com/2016/04/15/tidf_mouselab_selection/feed/</wfw:commentRss>
<slash:comments>0</slash:comments>
<post-id xmlns="com-wordpress:feed-additions:1">958</post-id> </item>
</channel>
</rss>