文化研究國際中心

4.26 (五)~4.28(日)焦慮的年代:馬來西亞影展在台灣 Age of Anxiety: Malaysian Film Festival in Taiwan/**朝向亞際平等共享社會系列

  • 2019-04-11
  • emily

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焦慮的年代:馬來西亞影展在台灣
2019.04.26 - 2019.04.28
交大人文電影館,國立交通大學,人社二館3樓
** 入場免費 **
 
簡介
在當代馬來西亞電影中,「焦慮」的主題時時出現。在這個年代,沒人能擺脫焦慮感。夾雜在公民與棄民、族群與他者、傳統與現代、信仰與非信仰、性別與國家之間,各種游移不安的身份,導致焦慮無時不存在。人們害怕失去控制,害怕失去權利、身份、語言與地位;也有人害怕失去一席之地、生存意志或是一個可想像的未來。這些不確定的威脅,如同四處冒出氾濫的鬼魅,以至於馬來西亞人最愛的恐怖驚悚片,也成為時代焦慮的暗喻。
 
首相馬哈迪(當他還是前任首相的時候)曾抱怨恐怖電影阻礙現代社會的進步與發展,呼籲馬來西亞人以更科學的方式解決問題,不要沉浸於迷信落後的思維。科學、現代化、發展主義,是馬哈迪領導國家建設的方向。恐怖靈異電影就恰恰挑戰了這樣的線性發展思維。
 
糾結在本土傳統文化、靈異信仰和混亂時空,錯置在現代性與發展論述,不同的電影在懸念、興奮、刺激、焦慮之間,尋找擠壓在夾層中的聲音,不斷扣問如此意識形態掛帥下的各種馬來西亞生活形態。
 
「焦慮的年代」這個離散到台灣的馬來西亞影展,穿越地理、國族和語言疆界,扣連馬來西亞電影與華語電影場域,揭開當代馬來西亞文化的複雜問題。八部各類型的當代馬來西亞電影,四位焦點馬來西亞導演映後座談,多場電影學者、影評人的深度演講與論壇,讓我們一起思考「焦慮的年代」影展背後折射出當代馬來西亞的種種難題,探討藝術介入社會的可能與方式。
 
出席導演:Namron、Shanjhey Kumar Perumal、陳翠梅、蔡明亮、區秀詒
出席學者:Norman Yusoff、Khoo Gaik Cheng、張錦忠、林建國、劉紀蕙、賈元鵬
 
演講(一)英文演講
講者:Khoo Gaik Cheng(諾丁漢大學馬來西亞分校副教授)
講題:達因賽益電影中的傳統/現代表現:《巫醫》與《靈魂交替》
回應:雷智宇(交大社文所碩士生)
26th Apr (Fri), 1pm-3pm
 
演講(二)英文演講
講者:Norman Yusoff(馬來西亞瑪拉工藝大學高級講師)
講題:以類型為徑,歷史化馬來西亞電影
回應:區秀詒(藝術家)
27th Apr (Sat), 1pm-3pm
 
導演座談(一)中文演講(英語同步口譯)
《黑眼圈》放映暨映後座談
講者:蔡明亮導演
主持:林建國(交大外文系副教授)
26th Apr (Fri), 6pm-9:30pm
 
導演座談(二)馬來語演講(英中同步口譯)
《十字路口》(One Two Jaga)放映暨映後座談
講者:Namron導演
主持:張錦忠(中山大學外文系副教授)
27th Apr (Sat), 6pm-9pm
 
導演座談(三)英語演講
《惡道》(Jagat)放映暨映後座談
講者:Shanjhey Kumar Perumal導演
主持:劉紀蕙(交大社文所教授兼所長)
28th Apr (Sun), 12:30pm-3:30pm
 
導演座談(四)英語演講
《無夏之年》(Year Without a Summer)放映暨映後座談
講者:陳翠梅導演
主持:賈元鵬(交大外文系教授兼系主任)
28th Apr (Sun), 6:30pm-9:30pm
 
放映場次表:https://tinyurl.com/y4643ee4
影展網站:https://sites.google.com/view/ageofanxiety/
 
策展人:蘇穎欣、謝鎮逸、雷智宇(Zikri Rahman)
顧問:林建國、劉紀蕙
主辦單位:交大文化研究國際中心
聯辦單位:交大外國語文學系
 
Age of Anxiety: Malaysian Film Festival in Taiwan
2019.04.26 - 2019.04.28
Film Studies Center Theater, 3rd Floor, HA Building 2, National Chiao Tung University, Hsinchu
** Free Admission **
 
In contemporary Malaysian cinema, themes about “anxiety” appear time and again. Embroiled in the wavering identity between citizens and the abandoned, race and the Other, tradition and modernity, beliefs and non-beliefs, gender and nation, no one can escape from anxiety in this age. There are people anxious about losing control, their rights, identity, language or positions; there are also people anxious about losing a place to live, a will to survive, or a future to imagine. These uncertain threats, like the wandering ghosts, continue to haunt the society, thus making the horror/thriller films –Malaysians’ favorite genre—a metaphor in the age of anxiety.
 
Prime Minister Mahathir Mohamad (when he was still the “former” prime minister) once complained that horror films hinder the progress and development of a modern nation. He further called on Malaysians to find more scientific ways to solve problems, but not indulging in superstitious, backward thinking. Dr. Mahathir led the nation with a commitment to science, modernization, and developmentalism, but horror films have precisely challenged this kind of linear development.
 
Local traditional cultures, spiritual beliefs, and deranged time-space are misplaced in the discourse of modernity and developmentalism. Different genres of films seek to unveil voices in the interstices, making an inquiry about the forms of living under such ideological trend, and thus arousing the emotions of suspense, agitation, excitement and anxiety.
 
“Age of Anxiety” is a diasporic Malaysian film festival that takes place in Taiwan. It goes beyond geographical, national and linguistic boundaries, hoping to connect Malaysian and Sinophone/Chinese cinema, uncovering the questions of cultural complexities in contemporary Malaysia. The film festival covers over 8 contemporary Malaysian feature films in different genres, post-screening discussions with 4 Malaysian directors, as well as panel discussions and lectures by film critics and scholars. Together we reflect on the various challenges in contemporary Malaysia and the possibilities and ways of intervening society through the arts.
 
Directors: Namron, Shanjhey Kumar Perumal, Tan Chui Mui, Tsai Ming Liang, Au Sow Yee
Scholars: Norman Yusoff, Khoo Gaik Cheng, Tee Kim Tong, Lim Kien Ket, Joyce C.H. Liu, Earl Jackson
 
Lecture (1) English lecture
Speaker: Khoo Gaik Cheng (Associate Professor, University of Nottingham Malaysia)
Title: Grappling with representations of tradition/modernity in Dain Said’s films Dukun (2018) and Interchange (2016)
Discussant: Zikri Rahman (MA student, Institute of Social Research and Cultural Studies NCTU)
Time: 26th Apr (Fri), 1pm-3pm
 
Lecture (2) English lecture
Speaker: Norman Yusoff (Senior Lecturer, Universiti Teknologi MARA, Malaysia)
Title: Historicising Malaysian Cinema through Genre 以
Discussant: Au Sow Yee (artist)
Time: 27th Apr (Sat), 1pm-3pm
 
Director’s Talk (1) Lecture in Chinese with English Simultaneous Interpretation
Screening and Director’s Talk on I Don’t Want to Sleep Alone
Speaker: Tsai Ming Liang
Moderator: Lim Kien Ket (Assoc Prof, Dept. of Foreign Language and Literature NCTU)
Time: 26th Apr (Fri), 6pm-9:30pm
 
Director’s Talk (2) Lecture in Malay with English/Chinese Simultaneous Interpretation
Screening and Director’s Talk on Crossroads: One Two Jaga
Speaker: Nam Ron
Moderator: Tee Kim Tong (Assoc Prof, Dept. of Foreign Language and Literature NSYSU)
Time: 27th Apr (Sat), 6pm-9pm
 
Director’s Talk (3) Lecture in English
Screening and Director’s Talk on Jagat
Speaker: Shanjhey Kumar Perumal
Moderator: Joyce C.H. Liu (Professor, Director, Institute of Social Research and Cultural Studies NCTU)
28th Apr (Sun), 12:30pm-3:30pm
 
Director’s Talk (3) Lecture in English
Screening and Director’s Talk on Year Without a Summer
Speaker: Tan Chui Mui
Moderator: Earl Jackson (Professor, Dept. of Foreign Language and Literature NCTU)
Time: 28th Apr (Sun), 6:30pm-9:30pm
 
 
Screening Schedule: https://tinyurl.com/y4643ee4
Film Festival Website: https://sites.google.com/view/ageofanxiety/
 
Curators: Show Ying Xin, Seah Jenn Yi, Zikri Rahman
Advisors: Lim Kien Ket, Joyce C.H. Liu
Organizer: International Center for Cultural Studies, NCTU
Co-organizer: Department of Foreign Languages & Literature, NCTU
 
http://iccs.nctu.edu.tw/zh/index.php
http://iics.nctu.edu.tw/

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「馬來西亞影展在台灣」系列演講(一)Malaysian Film Festival in Taiwan Lecture Series (1)
 
Grappling with representations of tradition/modernity in Dain Said’s films
Dukun (2018) and Interchange (2016)
達因賽益 電影中的傳統/現代表現:《巫醫》與《靈魂交替》
Khoo Gaik Cheng (University of Nottingham Malaysia  諾丁漢大學馬來西亞分校)
26th Apr (Fri), 1pm-3pm
國立交通大學人文電影館,人社二館3樓 Film Studies Center Theater, 3rd Floor, HA Building 2, National Chiao Tung University
*英文演講 Lecture in English
 
This lecture acknowledges that Malaysian films struggle in the age of anxiety to engage with many socio-cultural and political issues, ethnic relations, gender disparity, the denial of human rights, freedom of expression and nationalist discourses. In an early essay, “Just-Do-It-Yourself,” I pose cosmopolitanism as a way to describe what historian Sumit Mandal terms “transethnic solidarities” among independent Malaysian filmmakers in their collaborative projects (Khoo 2007). While many of the films screened in this festival reflect this cosmopolitan attitude (having an openness towards the culture of others as reflected in sensitive portrayals of the racial Other, being influenced by global film styles), there have been significant changes in the film industry, technology and among independents that make the cosmopolitan framework difficult to contain and apply to all Malaysian films.  That said, this lecture will take up some of the festival’s themes, namely by addressing the discourse of Malaysian modernity in the ‘Age of Anxiety’, through a discussion of two films by Dain Said set in the urban cosmopolis where the mystical exists.
 
I read the spaces of Dukun and Interchange via temporality and spatiality that gestures towards the idea of networked or circulating modernities, to eschew and deconstruct the often diametrically opposed binaries of tradition/modernity, past/present, colonial/postcolonial in favour of integrating the two and thinking of them as relational. As Walter Mignolo notes, modernity is conditioned on the presence of coloniality; so too has western modernity its dark side: colonialism (2011). While the resurfacing of ghosts, the mystical, beliefs in black magic and the monstrous feminine in Malaysian or other SEAsian films can be read positively as signs of pluralizing modernities, through positing “alternative” or “Asian” modernities, this gesture nevertheless returns the power of primacy to European modernity as the source of its planetary diffusion (Friedman 2015). Notionally the rendering of tradition in most Malaysian fantasy/horror reflects a postcolonial anxiety about our state of modernity, whether it’s ambivalence about the benefits of modernity (alienation in the family) or a sense of cultural lag that Malaysia is ‘not quite modern’, not quite scientific, not quite divested of its sometimes silly superstitions.
 
My analysis though hopes to make sense of the sleek modern architecture in Interchange that does not resemble the reality of a working class police photographer’s accommodations and the traditional blue and white buildings that are iconic of Malaysian police stations. The presence of the indigenous Borneo historical characters in the hypermodern city hearkens to the return to older layers of regional history: reminding Malaysian viewers of urban Malaysia’s deep-roots in the nusantara (archipelago). I will show how Dukun and Interchange do not only suggest that the past (in the form of the Sumatran dukun and the Tingang tribe of Borneo) haunts the present for colonial and postcolonial injustices that once addressed can be put to rest; but that the present and the past (and the future of the past) are deeply imbricated in temporal continuity. Thus, tradition and modernity are enmeshed and appear to evolve in new forms that may not be linear. Such a reading I hope can contribute to and enrich Friedman’s and Mignolo’s project of connecting local modernities.
 

馬來西亞電影在焦慮的年代試圖處理各種問題,例如社會文化和政治議題、族群關係、性別不平等、人權侵犯、表達自由和國族敘事等。我早期在一篇論文中提出以「世界主義」把握馬來西亞獨立電影人的協作計劃,以解釋歷史學家蘇密曼達(Sumit Mandal)所說的「跨族群團結」(Khoo 2007)。本次影展放映的電影,大部分都反映了這種世界主義態度(透過對族群他者的敏感刻畫,顯示對他族文化的開放態度,且受到國際電影風格的影響)。不過,這些年的電影工業、技術,和獨立電影群體本身已有顯著變化,世界主義的架構已難以容納和適用在所有馬來西亞電影。本演講討論達因賽益的兩部電影《巫醫》(2018)和《靈魂交替》(2016),它們的場景皆設定在都市,卻有神秘元素存在。藉此,我將回應本次影展的主題,討論「焦慮的年代」中馬來西亞現代性的問題。
 
我通過時間性和空間性的概念來解讀《巫醫》和《靈魂交替》,指出一種網狀或循環的現代性概念,得以避開並解構經常被視為對立的傳統/現代、過去/現在、殖民/後殖民,反而將他們結合並認為他們具有相關性。如同Walter Mignolo(2011)所述,現代性受到殖民性的制約,西方現代性也有他的陰暗面,即殖民主義。馬來西亞或其他東南亞電影中不斷出現的鬼魂、神秘元素、巫術信仰和變異的陰性,雖可正面地解讀為現代性的多元化展現,或假定一個「另類」或「亞洲」現代性的存在,然而,這個說法卻是主權交還給歐洲現代性,視之為現代性在全球發散的源頭(Friedman 2015)。概念上而言,大部分馬來西亞恐怖片呈現的傳統,反映了攸關我們現代性狀況的後殖民焦慮,無論是關於現代性益處的矛盾情緒(如家庭關係的疏遠)或是文化滯後之感,如馬來西亞「不夠現代」、不夠科學,或仍未能摒棄愚笨的迷信等。
 
我試圖解讀《靈魂交替》中,那不反映現實工人階級警察攝影師所應居住的整潔現代建築,還有象徵馬來西亞警局的藍白建築。傳統婆羅洲歷史人物出現在超級現代城市,暗示回到早期區域歷史的重要:它提醒馬來西亞觀者,都市馬來西亞深根於馬來群島。我將分析,《巫醫》和《靈魂交替》不止呈現出(以蘇門答臘巫醫或婆羅洲Tingang部落為形式的)過去,依然糾纏著殖民/後殖民不公的現在,而這些不公只要獲妥善處理就可安息;這兩部電影還展現了現在和過去(和過去的未來)在時間延續性之下深深纏繞。因此,傳統和現代性被絆在一起,同時逐步形成未必線性的發展形式。透過這樣的解讀,我希望能進一步充實Friedman和Mignolo的在地現代性連結計劃。
 
Discussant: Zikri Rahman (MA student, Institute of Social Research and Cultural Studies)
回應人:雷智宇(交大社文所碩士生)
 
Speaker’s intro:
Khoo Gaik Cheng is Associate Professor of Film and Television at the University of Nottingham Malaysia where she teaches Southeast Asian Cinema, and Master’s seminars on postcolonial theory and posthumanism. Founder of the Association of Southeast Asian Cinemas Conference (ASEACC) which is now into its tenth year, she continues to take a keen interest in cinema and filmmaking in the region, most recently co-editing a book manuscript Southeast Asia on Screen: From Independence to Financial Crisis (1945-1997) with Thomas Barker and Mary Ainslie. Her publications include Reclaiming Adat: Contemporary Malaysian Film and Literature (2006), and various articles on Malaysian, Singaporean and Indonesian filmmakers and films in numerous journals and books. She also researches on food, identity and heritage. Her other current research projects include Korean migrants in Malaysia: modernity, temporality and happiness as well as the globalization of the durian. Gaik is also the Director of the University of Nottingham Asia Research Institute where she has been busy organising a series of events on food, ecology and sustainability entitled “Forgotten and Future Foods.”
Khoo Gaik Cheng是諾丁漢大學馬來西亞分校電影與電視副教授,教授東南亞電影、後殖民理論和後人類主義等課程。她是東南亞電影研討會協會的創辦人,至今已步入第十年。目前她正和Thomas Barker和Mary Ainslie合編《Southeast Asia on Screen: From Independence to Financial Crisis (1945-1997)》。她的著作包括Reclaiming Adat: Contemporary Malaysian Film and Literature (NUS Press, 2006),以及不少有關馬來西亞、新加坡和印尼電影的期刊和專書文章。與此同時,她也研究食物、身份和遺產,馬來西亞的韓國移民社群、現代性、時間性與幸福感,還有榴蓮的全球化等課題。她也是諾丁漢大學亞洲研究院主任,籌劃一系列關於食物、生態和永續性的活動,名為「Forgotten and Future Foods」。
 
Zikri Rahman has consistently embarked on collaborations with cultural activist groups in various socio-political projects. Buku Jalanan, a community-based cultural literacy and street library movement he co-founded, is a loose cultural and knowledge workers network focusing on decentralizing the modes of knowledge production.
 
He is also the festival director of the inaugural Idearaya, a festival of ideas dedicated to celebrating progressive discourses within the vibrant grassroots community of intelligentsia, civil society, and community organizers in Southeast Asia. With LiteraCity, he initiated a literary and cultural mapping project in the city of Kuala Lumpur. Currently pursuing his postgraduate studies in Social Research and Cultural Studies in Taiwan, Zikri is also a writer, independent researcher, and translator for various ephemeral platforms
雷智宇目前在交通大學社文所攻讀碩士學位,除了寫作、獨立研究、翻譯以外,也持續參與不少社會政治計劃,並與其他文化行動者合作。他在吉隆坡創辦的社群組織「街頭書坊」(Buku Jalanan)是個推廣文化識讀的街頭圖書館運動,由一群組織鬆散的文化和知識工作者共同探索將知識生產去中心化的模式。他也是「Idearaya」的節目總監,那是一個關於思想與知識的節慶活動,聚集東南亞知識圈、公民社會和社區組織者等草根社群,推動進步論述。另外,他也創辦「LiteraCity」文學之城這個關注吉隆坡的文學文化繪製計劃。

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「馬來西亞影展在台灣」系列演講(二)Malaysian Film Festival in Taiwan Lecture Series (2)
 
Historicising Malaysian Cinema through Genre 以類型為徑,歷史化馬來西亞電影
Norman Yusoff
Universiti Teknologi MARA, Malaysia 馬來西亞瑪拉工藝大學電影、劇場及動畫學院
27th Apr (Sat), 1pm-3pm
國立交通大學人文電影館,人社二館3樓 Film Studies Center Theater, 3rd Floor, HA Building 2, National Chiao Tung University
*英文演講 Lecture in English
 
During the golden age of Malaysian cinema in the 1950s and 1960s, two film studios – Shaw Brothers and Cathay-Keris – dominated film production, distribution and exhibition. In their efforts to attract audiences, both studios emphasised ‘product differentiation,’ a strategy that often took the form of ‘star’. However, there was ample evidence of the occasions on which ‘genre’ was also employed in their production marketing strategies. This lecture attempts to trace ‘genre’ of old films by historicising Malaysian cinema. In the process I argue that genres of Malay films had their own conventions due to their borrowing from – and adaptation of – various local, regional and transnational media and cultural forms. Although most of the films may not have been formulated within a Hollywood-style, generic framework, some entailed genre elements whereas others were unarguably genre films. The popularity of Hong Kong genre films in British Malaya, as well as cosmopolitan film practice (involving South Indian and Filipino filmmakers in the early phase), contributed to the influencing and shaping of Malay films’ genre and content. This lecture claims that early Malay film genres transcended the binary between realist and non-realist genres which is assumed in most Anglo-American film scholarship. Many Malay film narratives, which in the main were imbued with elements of magic and superstition, exhibited either non-sociological modes of the fantastic or anachronism that ruptured modern, homogeneous notions of time. As the lecture will suggest, this tendency alludes to the prototype of Malay film genres, purba films, a form of period film or costume drama that had its roots in theatrical forms (bangsawan and sandiwara) and folk literature (regional myths, folklore and historico-legends), which taken together could be considered ‘genre narratives’.
一九五〇和六〇年代,這段馬來西亞電影的黃金年代,主要由兩家電影公司——邵氏兄弟和國泰克里斯主導影片的製作、發行和展演。為了吸引觀眾,兩家公司都採取「產品差異化」的策略,發揮「明星效應」。不過,也有資料顯示他們在市場營銷策略上同時採取「類型」的手段。本演講通過追溯老電影的「類型」來歷史化馬來西亞電影。我認為,馬來電影有其約定俗成的類型,這是因為其經常借用或改編各種本土的、區域的,甚至是跨國的媒介和文化形式。雖然大部分馬來電影未必在好萊塢的類型片框架下操作,但不少皆含有類型元素,其餘無疑是類型電影。英屬馬來亞時期大受歡迎的香港類型電影,以及具世界性意義的電影操作方式(早期包括南印度和菲律賓電影製作人),都影響和形塑了馬來電影的類型和內容。本演講指出,早期的馬來電影類型超越了大部分英美電影學界中預設的現實和非現實類型二元論。許多馬來電影敘事充滿魔幻和迷信元素,展現出非社會學式的奇幻,或是破壞現代性同質時間的時空倒錯之境。本演講將指出,這個傾向揭示了馬來電影「古裝片」(purba films)的原型,其時代劇或古裝劇的形式源自宮廷戲劇(bangsawan歌舞劇或sandiwara戲劇)和民俗文學(區域神話、民間故事和歷史傳說),這些都可被看作是「類型敘事」。
 
Discussant: Au Sow Yee (artist)
回應人:區秀詒(藝術家)
 
Speaker’s intro:
Norman Yusoff is Head of the Centre for Postgraduate Studies, Faculty of Film, Theatre and Animation, Universiti Teknologi MARA (UiTM), Malaysia, where he also teaches film studies. He obtained his PhD degree from the University of Sydney, with a thesis focusing on genre, gender and temporality in contemporary Malaysian cinema. Norman has published articles in the Asian Cinema and the International Film Guide. He is also a film columnist with the Malay-language daily Mingguan Malaysia and curates the fortnightly Wayang Budiman programme.
Norman Yusoff是馬來西亞瑪拉工藝大學電影、劇場和動畫學院高級講師以及研究生中心主任,在該校任教電影研究。他自澳洲雪梨大學取得電影研究博士學位,研究當代馬來西亞電影的類型、性別和時間性。論文散見於Asian Cinema、International Film Guide等期刊文章,也在馬來報章撰寫專欄文章。他也是Wayang Budiman這個雙週電影放映活動的策展人。
 
Au Sow-Yee, born 1978 in Malaysia, she now lives and works in Taipei. AU’s works focus mainly in questioning, exploring as well as expanding the relation between images, image making, history, politics and power, through video installation and other mediums. Sow-Yee’s recent works focus on re-imagined history of Malaysia, South-east Asia and it’s related region from perceptions and ideologies bounded by the Cold War. A finalist for the 2018 Asia Pacific Breweries Foundation Signature Art Prize and Han Nefkens Foundation - Loop Barcelona Video Art Award 2018, Sow-Yee’s works were exhibited in MMCA (Seoul), Mori Art Museum (Tokyo), HKW (Berlin), Shanghai Rockbund Art Museum, Singapore Film Festival among others. Sow-Yee is a guest writer for online magazine No Man’s Land and co-founded Kuala Lumpur’s Rumah Attap Library and Collective in 2017.
 
區秀詒,生於 1978,馬來西亞;現工作、生活於臺北。區秀詒的創作主要以錄像、觀念、裝置等混合形式,探討和擴延影像與影像製造以及和歷史、政治、權力之間的關係。她近期關注如何把歷史從冷戰結構的影響解放出來,重新想像尤其是馬來西亞與東南亞區域的歷史問題意識。入圍「2018年亞太釀酒基金會傑出藝術獎」(Asia Pacific Breweries Foundation Signature Art Prize,簡稱亞太藝術獎)。作品曾在首爾MMCA、東京森美術館、柏林HKW、曼谷文化與藝術中心(BACC)、上海外灘美術館、新加坡國際電影節等展覽與電影節發表。目前為「數位荒原」的特約作者,吉隆坡「亞答屋84號圖書館」共同創辦人之一。
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「馬來西亞影展在台灣」系列演講(三)Malaysian Film Festival in Taiwan Lecture Series (3)
 
《黑眼圈》放映暨映後座談:蔡明亮
Screening and Director’s Talk on I Don’t Want to Sleep Alone : Tsai Ming Liang
26th Apr (Fri), 6pm-9:30pm
國立交通大學人文電影館,人社二館3樓 Film Studies Center Theater, 3rd Floor, HA Building 2, National Chiao Tung University
主持人Moderator:林建國 Lim Kien Ket
*中文演講(英語同步口譯) Lecture in Chinese (English Simultaneous Interpretation provided)
 
黑眼圈 I Don’t Want to Sleep Alone
Tsai Ming Liang 蔡明亮/ 2007/ DCP/ 115 mins/ Malay,Mandarin,Bengali/ English Subtitles英文字幕
 
Homeless on the streets of Kuala Lumpur, Hsiao Kang is robbed, beaten and left for dead; he is found and nursed by Rawang, an immigrant worker, who lives in an unfinished, abandoned building. Rawang's feelings for his patient may or may not be sexual, but there's lust in the eyes of Chyi, a coffee shop waitress, when they light upon the recovering Hsiao Kang. And so a triangle forms as a blanket of noxious fog settles on the city and everyone has trouble breathing.
 
無家可歸的小康,在吉隆坡被打搶毆打後遭遺棄街頭,後來被外籍工人拉旺帶回住所照料。拉旺居住在一棟未蓋完的廢棄房子。他對小康的感情可能不涉及性,而咖啡店助手琪卻有慾望,他們都幫助小康的復原。三角關係就此展開,而這座城市正被煙霾層層籠罩,所有人都難以呼吸。
 
導演簡介Director’s Bio:
 
Tsai Ming Liang was born in Kuching, Sarawak in 1957, graduated from the Drama and Cinema Department of the Chinese Culture University of Taiwan. Before delving into filmmaking, he was involved in writing theatre plays and television dramas. Most of his feature films such as Rebels of the Neon God (1992), Vive L'Amour (1994), The River (1997), The Hole (1998), What Time Is It There? (2001), The Wayward Cloud (2005), I Don't Want to Sleep Alone (2006), Face (2009) were invited to participate in important international film festivals, thus made Tsai internationally renowned. Stray Dogs (2013) won the Grand Jury Prize at Venice Film Festival and the 50th Golden Horse Awards. In 2017, he completed the first Virtual Reality (VR) film, The Deserted, which premiered at the 74th Venice Film Festival. Collaborated with Japanese composer Ryuichi Sakamoto, Tsai’s latest film Your Face is a feature film with only 14 shots.
 
蔡明亮,1957年出生於砂拉越古晉,畢業於中國文化大學影劇系。早期活躍於舞台劇創作,之後進入電視圈撰寫電視劇本。電影作品《青少年哪吒》、《愛情萬歲》、《河流》、《洞》、《你那邊幾點》、《不散》、《黑眼圈》、《天邊一朵雲》等皆受邀參與大型國際影展,蔡明亮也因此享譽國際。2006年受法國羅浮宮邀請拍攝以典藏品為主題的影片《臉》,本片並於2009年入圍坎城影展正式競賽片。2013年他以作品《郊遊》獲得第70屆威尼斯影展評審團大獎及第50屆金馬獎最佳導演。2017年他完成首支VR短片《家在蘭若寺》,並於第74屆威尼斯影展首映。2018年於宜蘭壯圍「沙丘」旅遊服務中心策劃為期兩年的《行者・蔡明亮》大展;同年與音樂大師坂本龍一合作,完成只有14個鏡頭的長片《你的臉》。
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「馬來西亞影展在台灣」系列演講(四)Malaysian Film Festival in Taiwan Lecture Series (4)
 
《十字路口》放映暨映後座談:Nam Ron
Screening and Director’s Talk on Crossroads: One Two Jaga : Nam Ron
27th Apr (Sat), 6pm-9pm
國立交通大學人文電影館,人社二館3樓 Film Studies Center Theater, 3rd Floor, HA Building 2, National Chiao Tung University
主持人Moderator:張錦忠 Tee Kim Tong
*馬來語演講(英中同步口譯) Lecture in Malay (English/Chinese Simultaneous Interpretation provided)
 
十字路口 Crossroads: One Two Jaga
Nam Ron / 2018 / DCP/ 83 mins / Malay, Indonesian, Tagalog/ English and Chinese Subtitles中英字幕
 
In Kuala Lumpur, when his sister Sumiati runs away from her job as a domestic helper, wanting to return from Malaysia to Indonesia, illegal immigrant Iman has to exhaust all his resources to get Sumiati illegal passage back on a boat. Meanwhile, policeman Hassan is always open to bribes from wrongdoers, whom he lets off with a caution. His new partner Hussein, on the other hand, has all the integrity and rigour of a rookie law enforcer. Although Hassan tries to hide the fact that he’s on the take, Hussein finds out, to his outrage. When these two groups of characters collide, all hell breaks loose for a thrilling climax.
 
在吉隆坡,無證移工伊曼的妹妹蘇米雅迪從家務工作逃跑,要從馬來西亞回到印尼。伊曼必須耗盡所有資源讓蘇米雅迪乘上返家的非法船隻。警員哈山向來收取賄賂,偷偷放走違法者。不過,新搭檔侯賽因卻是個正直嚴謹的執法者。儘管哈山欲蓋彌彰,侯賽因還是揭穿了他……當這兩組人物碰在一起,驚心動魄的犯罪故事正要展開。
 
導演簡介Director’s Bio:
 
Nam Ron (Shahili Bin Adnan) was born in Kangar, Perlis. He is active in practicing theater informally since 1989 as an amateur actor while working as a car welder. Since then, Nam Ron founded several theater groups and collectives such as SEBATU, Alternative Stage and Rumah Anak Teater as a playwright and director while pursuing his studies in Akademi Seni Kebangsaan (ASK). Developing further in his career, transitioning from experimental and modern theater to film production, he establishes Ayaq Hangat Entertainment working as a producer, director and actor in various award-winning filmographies; Gedebe, Gadoh, Dukun, PSIKO: Pencuri Hati, Redha and One Two Jaga among others. The latest One Two Jaga (2018) won big at the 30th Malaysia Film Festival, including Best Film, Best Director, Best Screenplay and others.
 
原名Shahili Bin Adnan的導演Nam Ron畢業自馬來西亞國家藝術學院,自1989年開始就活躍於在劇場界,參與創辦數個劇團組織如Sebatu, Alternative Stage和Rumah Anak Teater,也在其中扮演導演和編劇的角色。Namron近年從劇場界跨入電影製作,創立Ayaq Hangat娛樂公司,擔任製作人、導演和演員,製作了數部電影如Gedebe, Gadoh, Dukun, PSIKO: Pencuri Hati, Redha等。2018年執導的《十字路口》獲得第30屆馬來西亞電影節最佳影片、最佳導演、最佳演員、最佳劇本等獎項。
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「馬來西亞影展在台灣」系列演講(五)Malaysian Film Festival in Taiwan Lecture Series (5)
 
《惡道》放映暨映後座談:Shanjhey Kumar Perumal
Screening and Director’s Talk on Jagat : Shanjhey Kumar Perumal
28th Apr (Sun), 12:30pm-3:30pm
國立交通大學人文電影館,人社二館3樓 Film Studies Center Theater, 3rd Floor, HA Building 2, National Chiao Tung University
主持人Moderator:劉紀蕙 Joyce C.H. Liu
*英語演講 Lecture in English
 
惡道 Jagat
Shanjhey Kumar Perumal/ 2015/ DCP/ 76mins/ Tamil/ English and Chinese Subtitles 中英字幕
 
Jagat is a coming-of-age story about a boy growing up in a community of Tamil immigrants in Malaysia during the 1990s. Appoy, a spirited kid who would rather watch gangster flicks and make prank calls than memorize his multiplication tables. Desperately trying to keep his son on the straight path, Appoy's hard-working father becomes increasingly abusive as the boy is inexorably drawn to the criminal lifestyle of his uncle, a henchman for a local Malaysian gang.
 
這是一部關於1990年代的馬來西亞,一位出生於淡米爾印裔社群的男孩成長故事。活潑的Appoy不想背誦乘法表,成天只愛惡作劇和看黑幫片。勤奮工作的父親為了不讓兒子誤入歧途,越焦急卻越是暴力對待。Appoy的叔叔是幫派的黨徒,男孩最終仍無可避免地受到叔叔的影響。
 
導演簡介Director’s Bio:
Shanjhey Kumar Perumal is a Malaysian director and writer with over 13 years of experience in the creative media industry. He earns a Communication degree in Film and Broadcasting from Universiti Sains Malaysia. Over the years, he has been involved in a diverse array of media ranging from documentaries and short films to musicals and children’s programmes. His short visual essay, ‘Thaipoosam’, was screened at the 36th International Film Festival Rotterdam in the Netherlands. In 2009, his short film ‘Machai’ was awarded the Grand Prize at the BMW
Shorties Malaysia. Jagat (2015) is his first feature, which won the Best film in both Malaysian Film Festival (FFM) and KL Critiques award 2016.
 
山傑古瑪畢業自馬來西亞理科大學傳播學系,有超過13年的創意媒體經驗。他參與各類媒介的影視製作,包括紀錄片、短片、音樂劇和兒童劇等。他的視覺文章《Thaipoosam》在第36屆鹿特丹國際電影節放映。2009年,他的短片《Machai》獲得馬來西亞BMW短片競賽首獎。2015年的《惡道》是他的第一部長片,贏得第28屆馬來西亞電影節的最佳大馬電影和最佳新導演殊榮,也在2016年獲得吉隆坡影評人獎的最佳影片、最佳導演、最佳劇本等獎項。
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「馬來西亞影展在台灣」系列演講(六)Malaysian Film Festival in Taiwan Lecture Series (6)
 
《無夏之年》放映暨映後座談:陳翠梅
Screening and Director’s Talk on Year Without a Summer : Tan Chui Mui
28th Apr (Sun), 6:30pm-9:30pm
國立交通大學人文電影館,人社二館3樓 Film Studies Center Theater, 3rd Floor, HA Building 2, National Chiao Tung University
主持人Moderator:賈元鵬 Earl Jackson
*英語演講 Lecture in English
 
無夏之年 Year Without a Summer
Tan Chui Mui 陳翠梅/ 2010/ 87 mins/ Malay/ English and Chinese Subtitles 中英字幕
 
Azam comes back to his village, to look for his childhood best friend, Ali. Ali and his wife Minah are overjoyed to meet this long lost friend, who had left the village thirty years ago. They had been following Azam’s news since he became a famous singer, although now Azam is over his peak. Ali and Minah invite Azam to their house. At night, Ali asks Azam to out fishing at the sea. They visit the Pulau Ular island. The whole night, the three of them talk about love, marriage, village folklore, mystic creatures, and the wild boar hunting once upon a time. As the night is ending, Minah demonstrates that she could hold her breath underwater for 3 minutes. Azam tries to do the same, but he never appears again…
 
阿占回到他的村子尋找兒時同伴阿里。阿里和太太米娜喜見離鄉三十餘年的失聯老友。自阿占成為著名歌手後,他們就一直關注阿占的新聞,儘管阿占目前的事業已陷入低潮。阿里和米娜邀請阿占到他們家做客。夜晚,阿里邀老友出外釣魚。他們來到了蛇島。整個晚上,三人談論愛情、婚姻、鄉下傳說、神秘生物和獵野豬的事。破曉以前,米娜示範她能在水中憋氣三分鐘,阿占也試著做,卻再也沒浮上水面……
 
導演簡介Director’s Bio:
Tan Chui Mui is an independent filmmaker at the forefront of the Malaysian New Wave. The language of her films is calm, steady, and yet highly affective; her films often focus on cross-cultural issues as well as humanistic interactions. She has made numerous short films known for their respective unique styles. In 2004, she set up Da Huang Pictures with Amir Muhammad, James Lee and Liew Seng Tat. Her debut feature, Love Conquers All (2016), won the New Current Award at the Busan International Film Festival and the Tiger Award at the International Film Festival Rotterdam. Her second feature film Year Without a Summer was released in 2011.
 
陳翠梅是「馬來西亞電影新浪潮」的骨幹人物。她畢業于馬六甲多媒體大學,當過記者、老師、導演、製片、演員等,執導過多部短片和兩部長片。2004年,她與阿米爾穆罕默德、李添興和劉城達共同創立「大荒電影公司」。她的長片處女作《愛情征服一切》(2016)參加了數十個電影節,於第11屆釜山電影節上獲新浪潮獎和鹿特丹影展金虎獎。第二部長片《無夏之年》於2011年在多個國際電影節上映。