照
膜
Taiwan International
Cat Film Festival
About Us
芹澤洋一郎 (Yoichiro Serizawa)
1963年出生。17歲時，我拍攝了第一部8釐米電影作品，旨在表達「對高中生活的厭惡」，該片入選了「Pia影展81」。這次經歷改變了我的人生，讓我了解了個人電影與實驗電影的世界。
進入大學後，我創作了一系列依賴「痛感」的「血腥電影」（bloody films），但最終走進了死胡同。 後來，我從布列松（Robert Bresson）和奧山純一（Junichi Okuyama）的電影中學到「主題與技術的統一」是創造獨特電影體驗的關鍵，於是轉換了創作風格。 1990年代，我發表了許多電影作品，並在日本國內外獲得高度讚譽。在經歷20年的空白後，我於2016年以《Survival 5+3》重啟製作。《殺人相機》（16mm/3分鐘/1996年）榮獲舊金山國際電影節「新視野獎」，成為首位獲此獎項的日本導演。
Born in 1963. When I was 17 years old, my first 8mm film, which I made to express “the disgust of high school life,” was selected for the “Pia Film Festival 81. It was a life-changing experience for me as I learned about the world of personal and experimental films.
After entering university, I made a series of “bloody films” relying on my “sense of pain,” but hit a dead end.
Later, from the works of Robert Bresson and Junichi Okuyama, I learned that “unity of subject matter and technique” is the key to creating a unique cinematic experience, and switched my style. In the 1990s, I released many works, which were highly acclaimed both in Japan and abroad. After a 20-year gap, I resumed production in 2016 with Survival 5+3. Murder Camera (16mm Film/3min/1996) won the New Vision Award at the San Francisco International Film Festival. It was the first Japanese filmmaker to receive the award.
《兔子，奔跑》(Rabbit, Run) 8mm, 3', 1991
萬物皆有「輪廓」。然而，那時我感覺電影的正方形景框以及主體身體的輪廓對於創作電影作品而言是一種障礙。因此，在這部電影作品中，我試圖讓輪廓線自由重疊。然而，由於在8釐米底片上進行了多次曝光，輪廓變得模糊不清。因此，在下一部作品《合成人間》中，我使用了光學印片機結合16釐米底片，來保持輪廓的清晰度。這部作品中，貓的影像只短暫出現，但我非常喜歡那個鏡頭。
All things have “outlines.” However, at the time, I felt that the square frames of films and the outlines of the subject's body were an obstacle to creating a film work. Therefore, in this work, I aimed for a free overlapping of contour lines. However, because of the multiple exposures shot on 8mm film, the outlines were blurred and fuzzy. Therefore, in next own work, Synthetic Human I used optical printer compositing with 16mm film to maintain the strength of the outlines. In this work, the image of the cat appears only briefly, but I like that cut very much.
《大阪的合成人間》(Synthetic Human in Osaka) digital, 7', 2022
節錄自《合成人的復健》的其中一段（數位/49分鐘/1993-2022）。
這部作品由居住在大阪的宮田靖子所拍攝。我通過影像的合成與剪輯，來描繪了「觀看與被觀看」以及「觸摸與被觸摸」之間的互動。
《合成人的復健》是1993年《合成人間》的續作，時隔30年後完成。
其主題是對人類視覺的準確客觀化。當我們「看到某物」時，該物體投射在我們的視網膜上，但我們心中的視覺並不僅僅是那個「某物」。我們感覺到自己將事物視為「某物」，有時甚至會將注意力轉向「某物」的內部。有時，我們意識到「某物」的內部，同時看見記憶與幻象交織的景象。
這部作品已正式受邀於2022年日本Image Forum Festival影展，以及2024年韓國EXiS實驗電影影展放映。
An excerpt from Rehabilitation of Synthetic Human (digital/49min/1993-2022).
Based on material shot by Yasuko Miyata, who lives in Osaka, I composited and edited the images to depict the interaction between “seeing and being seen” and “touching and being touched”.
Rehabilitation of Synthetic Human is a sequel to Synthetic Human made in 1993, 30 years later.
The theme is the accurate objectification of human vision. When we see “something,” it is on our retina, but the vision in our mind is not the only “something.” We feel ourselves seeing things as “something,” and sometimes we turn our attention to the inside of “something.” Sometimes we are aware of the inside of “something.” We see both memories and delusions at the same time.
This work was officially invited for screening at Image Forum Festival 2022 (Japan) and EXiS 2024 (Korea).
