吉光片羽之間

Abstract

本論文是針對作者於2008年展覽創作《吉光片羽之間 Short Frames from a Long Life》所進行的創作自述，並輔以業餘者電影、日常生活、錄像裝置藝術等理論來進行作品的論述。 作品由兩部影片「我的家庭日記電影」與「持攝影機者的凝視」相對投影，影像錯落於層層「載玻片」之上。「載玻片」承載著具實體空間的記憶物，也呈現了無實體樣貌的影像。我的家庭日記電影是自2005年始，紀錄著我的生活場景，隨著親人相繼離世、母親患病、計劃購屋，生活空間由一個場所遷至另一個場所，影像由一個空間轉換至另一個空間，畫面由一個畫格進入另一個畫格，綿密複雜的情緒、生活吉光片羽隱藏於視頻訊號當中挾帶著我片段的生命來到展場空間。 本論文中針對本次創作做詳盡的論述及創作記錄，回顧創作最初的動機直到作品展覽後所呈現的成果，並進行反思。影片是平面、片段式的紀錄下事件、人物、與時間景物的流動、變遷，與當事人有著非言語、非影像所能表達的情感。每個人，包括觀者、影片中的人物、持攝影機者，觀賞這樣的影片時所產生的情感衝擊有著不同程度的落差。而情感與影片/記憶之間存在著甚麼樣的距離？觀者的背景、心理狀態與觀賞空間是否也影響著距離的構成？距離是空間意義還是心理層次之差異？

The thesis is a The creation told aims at the author to display the creation in 2008《Short Frames from a Long Life.》And auxiliary by theories of Amateur Film, Everyday life and cultural theory, Video Installation Art carries on the work the elaboration.The work “my diary home movie” and “cameramen's staring” by two movies the relative projection. Image reflection in lot slide glasses. “The slide glasses” has the entity of memories, also presents the non-entity appearance the Image.My diary home movie is beginning from 2005 recording my life scene, the Funeral of my grandfather, mother suffering from cancer, planning of new house. The living space is moved to another place by a place, the image is converted to another space by a space, and the appearance is got into another frame by a frame.Thorough complex mood and life fragment hideaway arrive at the exhibition venue in the middle of the video signal.

The thesis creates the artificial exhaustive elaboration and the regarding . Review initial motive to work final present. The film is under the fragment-like recording the event, the character, and the time scenery flowing. Everyone watches when such film produces the emotion feeling has the varying degree dropping variance.