.jpg)
Sep 23, 2008
May 9, 2008
May 7, 2008
HTC Touch Diamond officially unveiled
HTC Touch Diamond
(Credit: HTC)
As expected, HTC officially took the wraps off the HTC Touch Diamond at a press conference in London Tuesday and great googly moogly, does this thing look hot! Not only does it look sexy from the outside with its sleek, black casing, but the Touch Diamond also features a revamped TouchFlo 3D interface that gives you a more animated and easier way to access your contacts, messages, and other content. You can do all this via the Diamond's gorgeous 2.8-inch, 680x480 VGA (yes, that's right, VGA) touch screen; plus, there's a new touch-sensitive control below the display to help you out.
The Touch Diamond is a lot more than just looks, though. The quad-band smartphone runs Windows Mobile 6.1 and has integrated Wi-Fi, Bluetooth 2.0, GPS, and HSDPA support. HTC also noted that it will ship the Touch Diamond with a customized mobile Web browser that provides an optimized view of pages and lets you zoom and pan sites with one hand. In addition, the page orientation will automatically go from portrait to landscape mode when you turn the device sideways (hmm, sounds familiar. *cough, iPhone, cough, cough*) Other goodies include a 3.2-megapixel camera, 4GB internal storage, 256MB flash memory, and 192MB RAM.
The HTC Touch Diamond will start shipping in European markets this June, and then later in the quarter for Asia and the Middle East. As for us, there's good news and bad news. The good news is that we're actually getting our own version but unfortunately, we, as well as Latin American markets, will have to wait till the second half of 2008. Now, while the Touch Diamond certainly looks like a gem (sorry, had to do it), we're hoping it's more than just flash. And we couldn't help but be reminded of a similar-looking smartphone from Velocity Mobile. Mmm hmm, things just got interesting. Check out CNET UK's hands-on examination and our photo gallery of the HTC Touch Diamond.
May 4, 2008
CHUB CITY
Interactive toy vehicles which dance to your tunes! Simply plug in your CD/MP3 players and listen to the music flowing through the inbuilt speakers. The sleek looking cars also provide entertainment - they actually move up and down and dance to the music. I personally loved the look and feel of these cool cars - they are great to look at and are sure to be a hot item with the boys and girls of today. If you're looking for a gift this holiday season for someone who likes music and who is into cool stuff, whether young or old, these Chub City Playaz cars from Jada Toys are perfect. You can pick up a VW Beetle or a Chub City character, sit back, relax and ENJOY!Jada Toys - Chub City i-Playaz "HYPE" Interactive figure
STARBUCKS BACK TO BASICS
(Photo: Powerbooktrance via Flickr)
After 37 years, Starbucks has gone back to its roots with their new "Pike Place Roast" and redesign of the iconic cup. The retro logo showcases a modified version of the original "siren" logo designed by Terry Heckler. (You'll notice that this one is a bit more PC).
Although, is it still a redesign if it's an old design? The design is part of a back to basics campaign focusing on the history of the brand, and establishing their place as coffee experts - but is only a temporary move. So if you're a fan of the green logo, have no fear, it will return.
So what do we think? I personally like the return to their roots. I like the brown color-scheme and the historical reference. If nothing else, it really makes you look twice, as we're so conditioned to seeing the Starbucks green. It's no secret that Starbucks sales have been down lately... they've rapidly opened stores, created drive-thru windows, and have started offering all kinds of food and beverage options, that have diluted their original brand. They also have a lot of competition from the likes of Dunkin' Donuts and McDonalds, which all now offer coffee and espresso drinks. Perhaps this marks the beginning of a return to what Starbucks does best - good coffee.
Click here for a brief history on the Starbucks logo.
May 3, 2008
Apr 21, 2008
Apr 18, 2008
Apr 15, 2008
In An Absolut World
Ay caramba! Absolut Vodka has found a surefire way to put its US sales figures in a downward spiral. This map, used in a Mexican ad campaign, shows what the US-Mexican border would look like in an ‘absolut’ (i.e. perfect) world: a large part of the US’s west is annexed to Mexico.
Needless to say this map made its way to ‘El Norte’, annoying and upsetting many Americans – even leading to calls for a boycott of the Swedish-made vodka. What must be particularly annoying is that this map has some basis in fact.
Large swathes of the western US used to be part of Mexico. In 1836, American settlers proclaimed the independence of Texas, formally a Mexican territory. The US annexation of Texas in 1845 prompted the Mexican-American War (1846-1848), after which Mexico was forced to cede 525,000 square miles of territory (42% of its pre-war territory, 12% of the US’s current territory).
Mexico didn’t have much choice: a US army occupied Mexico City, and the alternative was total annexation. The Mexican Cession consisted of the territories of Alta California and Nueva Mexico, out of which were eventually formed the US states of California, Nevada and Utah, and parts of Arizona, Colorado, New Mexico and Wyoming.
In this ‘absolut’ version of the world, the US and Mexico are about the same size. As gratifiying as it might be for Mexicans to see the loss of Texas and the Mexican Cession be reversed, this map managed to offend so many Americans that it prompted Absolut Vodka to release a statement:
“We are sorry if we offended anyone. This was not our intention. We will try to explain. Though you may not agree, I hope you understand.”
“We have a variety of executions running in countries worldwide, and each is germane to that country and that population. This particular ad, which ran in Mexico, was based upon historical perspectives and was created with a Mexican sensibility. In no way was this meant to offend or disparage, nor does it advocate an altering of borders, nor does it lend support to any anti-American sentiment, nor doesjavascript:void(0) it reflect immigration issues. Instead, it hearkens to a time which the population of Mexico may feel was more ideal.”
“Obviously, this ad was run in Mexico, and not the US — that ad might have been very different.”
Here’s a link to it at the LA Times
Apr 4, 2008
咖啡益
每天喝一杯咖啡或可保護腦部，預防阿滋海默氏症（俗稱老人癡呆症）。美國北達科他大學以兔子做實驗，發現咖啡因確可阻隔危害人體的膽固醇，降低罹患阿滋海默氏症的風險。
這項發表於《神經發炎期刊》的實驗，每日餵食兔子高膽固醇的食物，有些兔子每日還喝到一杯咖啡，有些兔子則未餵食咖啡。十二周後，這些每日喝一杯咖啡的兔子，其「血腦障壁」與未喝咖啡的對照組兔子，結構功能皆更完整。
英國專家表示，北達科他大學此一試驗，乃截至目前為止有關咖啡益處的「最佳證明」。「血腦障壁」就像一個過濾器，可保護腦部中樞神經不受血液中有害化學物質的可能傷害。
Mar 28, 2008
Peace & Love, Music Promo
This is an animated promo for Quasi (domino records) for their track 'peace and love'. It was directed and produced by Big Red Button. Illustrated by Trevor White, and animated by a swarm of us. Check out their channel here..
Mar 26, 2008
Kochi Architects Studio
kochi architects studio is a tokyo based firm which works on a variety of architectural projects from residences
to stores, as well as furniture and lighting products. the studio sent us some images of two of their project's,
'house kn' and 'atelier for a calligrapher'.
'house kn' is located in the suburban prefecture of kanagawa, japan. it's design began with a box that was sliced
to create a large void, allowing the garden to be enveloped by the house. an outdoor patio on the second floor is
also strategically placed to make use of this unique slice.
'atelier for a calligrapher' is a studio and residence for a calligrapher in ymareshi, japan. it is situated on a hill
overlooking rice fields below. the slopped design of the building was inspired by a ship's hull. it also allows the
client to look down on the view of the rice fields and serves as an awning for the entrance.
22STUDIO
經過幾番波折，studio22要參加五月份在紐約的designboom mart了！
距離上次去東京已經快要半年了，從東京回來到目前都在忙著將水泥戒指推銷出去，在戒指的品質上面也有些許的提昇，這次去紐約目標是在把我們的戒指介紹給更多的洋人們，並且感受一下以參展設計師的身份去紐約的感覺，很期待很開心。
在新的設計方面，新款戒指目前還沒有生出來，因為我們希望新款戒指能夠在製造或是概念上能夠更上一層樓，跟之前的設計比要有進步的感覺，所以我們一直在避免新款戒指只在造型上做改變，希望至少去紐約前可以有一款新的戒指。
另外我們最近也在著手設計戒指外的產品，目前自己看起來是相當有趣的設計，也希望去紐約前能夠曝光。
最近真的覺得作設計是一條很奇怪的路，因為以我自己為例常常都是idea來找我，不是我找到idea，真的要我針對一個題目在一星期內交出草圖我還真的不是很行，所以我也一直覺得目前的我很幸運，碰巧想到的水泥戒指還蠻受歡迎的，拜它之賜我還可以找到名目作個自由設計師，不用每天加班，也可以藉機出國旅遊增廣見聞。
加油加油！！上次去東京的時候遇到很多台灣的同胞跟我們加油打氣，感覺很溫馨，希望五月剛好有要去紐約旅遊的台灣同胞，別忘了去icff看看我們阿～～跟我說國語或台語就是最大的鼓勵！！
Mar 23, 2008
Mar 22, 2008
EXPLODING CARS
The idea of bringing beauty to something as horrific as a car crash seems impossible. Artist Cai Guo-Qiang has achieved the impossible. His installation Inopportune, featured at MASS MoCA in Massachusetts presents a virtual ballet of individual cars as they twist, revolve and flip in sequence making their way through the motions of a car crash. Long transparent rods radiate from the car, pulsing with dazzling multi coloured light as the vehicles appear in stop motion. Suspended from the ceiling with transparent cables the vehicles takes us through the contorted journey of an experience we would otherwise not want. Described as as "an explosive momentum expanded in time and space as if in a dream Cai Guo-Qiang's work is dramatic, severe and frighteningly beautiful.
To see more, log onto www.caiguoqiang.com
Mar 21, 2008
World's best-known protest symbol turns 50
BBC News
It started life as the emblem of the British anti-nuclear movement but it has become an international sign for peace、and arguably the most widely used protest symbol in the world. It has also been adapted、attacked and commercialised.
It had its first public outing 50 years ago on a chilly Good Friday as thousands of British anti-nuclear campaigners set off from London's Trafalgar Square on a 50-mile march to the weapons factory at Aldermaston.
The demonstration had been organised by the Direct Action Committee Against Nuclear War (DAC) and the Campaign for Nuclear Disarmament (CND) joined in.
I drew myself: the representative of an individual in despair、with hands palm outstretched outwards and downwards in the manner of Goya's peasant before the firing squad
Gerald Holtom
Gerald Holtom、a designer and former World War II conscientious objector from West London、persuaded DAC that their aims would have greater impact if they were conveyed in a visual image. The "Ban the Bomb" symbol was born.
He considered using a Christian cross motif but、instead、settled on using letters from the semaphore - or flag-signalling - alphabet、super-imposing N (uclear) on D (isarmament) and placing them within a circle symbolising Earth.
The sign was quickly adopted by CND.
Holtom later explained that the design was "to mean a human being in despair" with arms outstretched downwards.
US peace symbol
American pacifist Ken Kolsbun、who corresponded with Mr Holtom until his death in 1985、says the designer came to regret the connotation of despair and had wanted the sign inverted.
Anti-Vietnam protesters at a rally in New York
"He thought peace was something that should be celebrated," says Mr Kolsbun、who has spent decades documenting the use of the sign. "In fact、the semaphore sign for U in 'unilateral' depicts flags pointing upwards. Mr Holtom was all for unilateral disarmament."
In a book to commemorate the symbol's 50th birthday、Mr Kolsbun charts how it was transported across the Atlantic and took on additional meanings for the Civil Rights movement、the counter-culture of the 1960s and 70s including the anti-Vietnam protests、and the environmental、women's and gay rights movements.
He also argues that groups opposed to those tendencies tried to use the symbol against them by distorting its message.
How the sign migrated to the US is explained in various ways. Some say it was brought back from the Aldermaston protest by civil rights activist Bayard Rustin、a black pacifist who had studied Gandhi's techniques of non-violence.
Vietnam
In Peace: The biography of a symbol、Mr Kolsbun describes how in just over a decade、the sign had been carried by civil rights "freedom" marchers、painted on psychedelic Volkswagens in San Francisco、and on the helmets of US soldiers on the ground in Vietnam.
The peace sign was adopted by the counter-culture movement
"The sign really got going over here during the 1960s and 70s、when it became associated with anti-Vietnam protests," he told the BBC News website.
As the combat escalated、he says、so did the anti-war protests and the presence of the symbol.
"This、of course、led some people to condemn it as a communist sign," says Mr Kolsbun. "There has always been a lot of misconception and disinformation about it."
As the sign became a badge of the burgeoning hippie movement of the late 1960s、the hippies' critics scornfully compared it to a chicken footprint、and drew parallels with the runic letter indicating death.
In 1970、the conservative John Birch Society published pamphlets likening the sign to a Satanic symbol of an upside-down、"broken" cross.
While it remained a key symbol of the counter-culture movement throughout the 1970s、it returned to its origins in the 1980s、when it became the banner of the international grassroots anti-nuclear movement.
Power
The real power of the sign、its supporters say、is the reaction that it provokes - both from fans and from detractors.
In the UK、the sign is still associated with the Ban the Bomb movement
The South African government、for one、tried to ban its use by opponents of apartheid in 1973.
And、in 2006、a couple in suburban Denver found themselves embroiled in a dispute over their use of a giant peace sign as a Christmas wreath. The homeowners' association threatened them with a daily fine if they didn't remove it.
The association eventually backed down because of public pressure、but a member told a local newspaper it was clearly an "anti-Christ sign" with "a lot of negativity associated with it.".
Commercial
A US soldier patrols a village outside Baghdad
CND has never registered the sign as a trademark、arguing that "a symbol of freedom、it is free for all". It has now appeared on millions of mugs、T-shirts、rings and nose-studs. Bizarrely、it has also made an appearance on packets of Lucky Strike cigarettes.
A decade ago、the sign was chosen during a public vote to appear on a US commemorative postage stamp saluting the 1960s.
The symbol that helped define a generation of baby boomers may not be as widely used today as in the past. It is in danger of becoming to many people a retro fashion item、although the Iraq war has seen it re-emerge with something like its original purpose.
"It is still the dominant peace sign," argues Lawrence Wittner、an expert on peace movements at the University at Albany in New York.
"Part of that is down to its simplicity. It can be used as a shorthand for many causes because it can be reproduced really quickly - on walls on floors、which is important、in say、repressive societies."
And can its success be measured? Fifty years on、wars have continued to be waged and the list of nuclear-armed states has steadily lengthened.
But the cup is half-full as well as half empty.
"There are many ways in which nuclear war has been prevented," says Mr Wittner. "The hawks say that the reason nuclear weapons have not been used is because of the deterrent. But I believe popular pressure has restrained powers from using them and helped curbed the arms race.
And the symbol of and inspiration for that popular pressure、says Mr Wittner、is Mr Holtom's graphic.
NOTE:
The peace sign is actually a Hopi Indian sign for unification between tribes、derived from the footprint of a crane、the Bird of Heaven. Here in the San Luis Valley 、where I live the Cranes migrate every spring in March.
Christine Chandler、Crestone Colorado
The logo was in use long before 1958 - as an SS regimental symbol、for instance.
John、London
What a nice story. Unfortunately the sign was in use rather earlier、notably on the graves of SS soldiers in WW2. Presumably Holton was not a very aware designer.
Di、Bristol、England
In 1968、we painted a bright white in colour peace sign on a mountain in the Las Vegas valley. With a diameter of 110 feet is was visible from miles away. It is still visible (barely) when viewed on Google earth.
Glenn、Las Vegas USA
It is fascinating to know the meaning and history behind the symbol.
As a Vietnam veteran、I never wore it during the war、only afterwards、next to my badges and medals、a peace sign. Only a soldier knows the true cost of peace.
Every citizen of the world should live in peace. Every person in the world must play their part. In the words of the late、great John Lennon、"Give peace a chance"!
Conrad、Atlanta、Georgia - USA
Mar 17, 2008
Gucci Limited Edition for China Olympics 2008
The Gucci Limited Edition for the 2008 Olympics is called 8-8-2008.
give us your hands
Another simple and creative action using bags. The Dentsu, Beijing, China developed this policy for Greenpeace to promote human consciousness and that the ill-treatment to the animals and ultimately we can "give us your hands" and live in harmony with them!
Say Time Watch
"Say Time Watch", designed by Tao Ma, allows you to customise your own sentence at the scheduled time. For instance, you can write "Time to feed the baby" and set this line to be displayed at 7p.m. Each line can be added or edited via an usb cable connected to your computer. Nice.
Designer: Tao Ma
GOLD TOY LAMP
Gold Toy Lamp and Mirror Each sculpture is one of a kind and hand ceafted at my London Studio. Made of recycled Toys which are bonded toghther and then coated in a High Gloss polyurethane laquer. Made to order 6 weeks lead time.
Ryan McElhinney - Designer
Ryan Mc Elhinney is one of the design worlds new talent, now mainly concentrating on furniture, lighting and interiors. Ryan studied Animation at the European College of Animation in Dublin and after graduating in 1993 moved to Paris to work for Walt Disney. His career then took him across the Atlantic to work on a number of prestigious films at 20th Century Fox. It was in the States that Ryan was able to express his real passion for design by working on a number of high profile and award winning projects. These included the Pheonix Arts Council commissioned junk sculture highlighting Urban Decay and the interior for the DDK hair Studios. In 2000 he scooped three first prizes in the Arizona Designer of the Year Awards and a further two in 2001.
Moving to London in 2001 Ryan set about designing a number of interiors related projected including seating for the Channel Four series 'Shattered' and 'The Salon" and a light sculpture for the restaurant/bar Sketch. He also continued to receive critical acclaim and was a finalist in the British Design Awards and the FX International Design Awards as well as recieving a 'special development prize' at the Peugot Design Awards. Ryan has also been commissioned by the likes of Carrie Fischer (Star Wars) and Noel Gallagher.
Currently Ryan has just launched a baspoke range of Baroque floor and table lamps, and has also designed the "Ryan Mc Elhinney Home Entertainment System" in a modernist ‘60’s design for Intel, to showcase their new wireless digital entertainment network.
Jack's , Ryan's own new lounge and kitchen has just opened in Southwark. Ryan has turned what was once a former railway arch into a beautifuil lounge with exposed brick walls, bespoke lighting and a sumptuous mix of Antique and Modern furnishings. Jacks is a mix of old world New York style Cotton club meets Loft apartment.
Mar 14, 2008
Mar 2, 2008
TOYO ITO: GENERATIVE ORDER 「伊東豊雄：衍生的秩序」
伊東豊雄(1941-)是近年來頗受國際矚目的日本建築師，2001年完成的「仙台媒體館」（Sendai Mediatheque）被譽為新世紀建築的代表作，隨即在世界建築界掀起「伊東風潮」，2002年獲頒威 尼斯建築雙年展的金獅獎。伊東與台灣的建築因緣始於高雄世運會主會場的設計案((2005年)，緊接著又在 2005年的台中大都會歌劇院國際競圖中勝出，2007年更受邀設計臺灣大學社會科學院新館。
可以設想在不久的未來，隨著伊東豊雄三個建築實體的完成，勢必為本地前衛建築的討論注入新的動能。各界對於 這位國際級建築師即將在台灣實現的前衛建築，期待甚殷。本館與伊東豊雄建築事務所共同主辦推出「伊東豊雄： 衍生的秩序」，該展曾於2006至2007年間，在日本的東京、仙台、葉山三地巡迴展出，獲得相當大的迴響 。這次來台展出為國際巡迴展的第一站，並將首度完整呈現台灣的三個設計案。
此外，本展預計展出百餘件手稿、施工圖、圖像記錄以及影片，追溯伊東35年來從事建築創作的軌跡，堪稱伊東 建築生涯的總覽。
展期：
2008/3/8 - 2008/5/25
Feb 28, 2008
Feb 20, 2008
Feb 17, 2008
Feb 14, 2008
Feb 6, 2008
Jan 28, 2008
Jan 27, 2008
Jan 26, 2008
「夾縫一代」的導演養成 by 誠品好讀
蔡明亮：我覺得我們兩個人拍電影的概念、態度不能說完全不同，路線接近，都不是商業導向，對電影的想法都跟主流市場不太一樣。
我對你的作品的印象是，狀態、氣味都與我在馬賽影展看到拍《鐵西區》的王兵有些近似──我指的是，中國這一輩年輕導演都會面臨整個中國在改變的問題，隨著經濟社會政治改變，人民追著錢走，理想、夢想普遍都不見了……而你們這些導演看見了其中的矛盾性。在我眼中，你們這一輩和上一輩的張藝謀等人比起來，是在夾縫中間的。
我想，你的情況也許和我有點近似。我的位置處在侯孝賢導演和更新一代的導演之間，又是外地來的……我們都是夾縫一代──都有些理想，又得面對龐大現實。
賈樟柯：我自己也有很強的「夾縫」的感覺。我們的工作、理想和信仰，是跟消費主義完全不一樣的。我自己開始有能力拍電影是九七年，那年恰恰是中國經濟快速發展、消費盛行的時期，我所相信和熱愛的電影方向，和整個社會的方向是背道而馳的，所以無意之中變成一個反叛者，反叛商業文化，反叛消費主義。
電影並不是我一開始的選擇。我是七○年代出生的，上小學時文革剛剛結束，那時物質非常匱乏，我記得童年的記憶多半是飢餓。這種飢餓的感覺對於今天的八○後、九○後一代是不可能體驗到的一種極端狀態。
當時生活環境裡文化的東西很少，對我們這些孩子來說，唯一有點沾邊的就是看電影，但我從沒想過自己要當一個導演。
同時，由於生存壓力很大，有一個東西逐漸在我心裡冒出來，一種命運的感覺。那時候我們小學是五年制，到了五年級畢業的時候，同學間突然就很多分化，比如說，我是接著讀初中了；有些同學是家裡有關係或者體格發育比較早的，就去當兵當武警；有的同學不讀了，因為他們父母覺得小學五年已經夠了，那些不讀書的同學就去工作，各行各業都有。還有些不讀書又找不到工作的，就變成流氓。雖然還是那麼小的孩子，但我一下子感到命運的轉變。當時隱約感覺，人其實是很不一樣的。那是我開始對人有興趣，因為看到了不同的人生。
也因為有了這個，才開始有我自己的文學活動，也大量地閱讀。有一年，我讀到路遙的小說《人生》，講一個很重要的社會問題──戶口問題。基本上，中國人被分成城市戶口和農村戶口，這兩者不互相流動，但有一個獨木橋就是高考。我當時只是個孩子，並不覺得這有什麼不公平，但讀了那個小說後，就突然明白了，我們這些城市戶口的孩子整天貪玩，但班上那些農村來的孩子，為什麼每天吃著乾窩頭配紅薯片，一直晚自習到十一、二點，因為他們要改變命運。
我很感謝閱讀，它使我有了思考能力，也開始懷疑。這些就為我以後拍片，從社會角度出發關照個人的生存奠定了原因。
蔡明亮：我們倆電影裡的元素，比如我的白光、葛蘭，你的港台流行樂，都是生活所經歷到的。這都可以變成影片重要的、脫離不了的元素。這部分大概也只有不那麼市場導向的導演可以做到的。
我那天遇到兩個年輕的中國女生，她們從八○年代就看我的《愛情萬歲》或《青少年哪吒》，當時很疑惑「怎麼這麼慢？」但，十幾年後的現在重看，不覺得慢了，因為現在什麼都快，這慢反而值得珍惜。當時的我之所以有這種創作空間，得感謝台灣電影新浪潮，讓創作者不再有包袱，不必再為票房服務。
我在看你的電影時，認為你做到一點是非常值得尊敬的，你不太胡思亂想，不太被市場左右，一直維持一種狀態往自己興趣去拍。我也一樣（笑）。
當然一般人可能會覺得「你在幹嘛？」但其實這不需要質疑，因為少數的人做這些事，是值得珍惜的，真正該質疑的是大多數人在做的事情。
賈樟柯：我很同意你的說法。文化裡面應該有各個層面的工作。提到這個話題，實際上中國到了九○年代末期市場經濟蓬勃以後，所有的價值判斷就變得非常一元，公眾包括整個價值判斷都改變了，以金錢作為衡量。
中國文化有一個很糟糕的情況，經常「削峰填穀」，我覺得台灣也是這樣。我曾聽到有評論家說，就是侯孝賢蔡明亮這樣的導演搞壞了台灣電影，也有人說就是賈樟柯這樣的電影誤導了年輕人，讓中國電影無法發展，這是很奇怪的說法。山峰就是山峰，填穀的工作可以由填穀的人來做，各種類型的電影應該有各種愛好的導演去完成它。我覺得我們個人沒有責任向電影工業負責，每個人都在獨立地做事情。
蔡明亮：你拍劇情片，也拍紀錄片；我則是一直拍劇情片，沒思考太多拍紀錄片的事。我覺得，拍紀錄片得遇到機會。我拍過幾部，有拍愛滋病病患的，有本來要拍乩童的《與神對話》。
我自己認為，拍愛滋病那次比較算是紀錄片。當時社會對愛滋仍抱歧視眼光，比如認為愛滋是同志的病，富邦基金會就找了我和張艾嘉等六個導演拍。我就選擇拍同志，就是要讓大家看事情真正的樣子，去戳破那個印象。
拍光州電影節邀的《與神對話》，記得是你拍一個，我拍一個，還有個英國導演拍一個。他們邀約我就答應了。但如何拿起這個輕便的數位攝影機？我一直有點抗拒。拿起來後又要拍什麼？我想一定得是我所熟悉的，所以我想拍台北。
其實我拍的不太算紀錄片，而是一個心情的寫照，像日記。我拍環境給我的感覺：新聞報導有河裡的魚暴斃，就去拍魚；我對乩童很有興趣，就去拍；又或是對地下道的功能好奇，就拍地下道。這一切呈現為影像，自然有一種象徵被創造出來，比方地下道是一個通道，再串連到人與神對話的狀態，那麼地下道和這一切的連結又是什麼？
整體來說，我並未認真思考拍攝紀錄片，所以多半還是拍劇情片。但是，我不喜歡人家說，我拍的電影像是紀錄片。
賈樟柯：我的第一個紀錄片就是○一年和你一起在光州電影節「三人三色」主題的《公共場所》，那個時候大家在漢城談到想拍一種空間的概念，我就想到旅行時看到的中小城市建築，比如一個長途汽車站，你依然能看出它過去是一個長途汽車站，但它現在的功能變成一個舞廳，中年人或沒有工作的人，大概吃完早餐就去跳，跳到吃中飯，午睡起來又接著跳。這種空間功能的轉化很吸引我，但我沒有深思熟慮過，也沒有真的去觀察過，只是帶著攝影機進入這些空間去感受它。
《公共空間》之後拍了《東》，然後就是《無用》。《東》是關於畫家的，我很喜歡劉小東，但他工作的情況我很陌生，我想瞭解他的工作，就用紀錄片拍。
《無用》是馬可對服裝的創作，我是偶然聽到她在做這個系列，首先「無用」的哲學概念很吸引我，再一方面她通過服裝來表達對中國當代現實的回應，我從沒想過服裝可以有這樣的回應。馬可完全用手工，這是她的觀念：以前人們會知道這個物品的來源，比如這圍巾是你媽媽做的或姊姊做的，通過手工有一種情感的傳遞；自從變成機器流水線工作後，這傳遞就被破壞了，緊接著來的還有環保問題。馬可有她很完整的思想體系，其中也有悖論的地方，但我覺得這是很難得很可貴的。
拍完小東又拍馬可，是因為我特別想跟這些同時代的藝術家互動，用不同的媒介來面對同樣的中國現實，我覺得這種互動的感覺，打破電影的封閉，有一種文化活力出現。我很希望通過紀錄片建立小小的橋樑，讓普通觀眾可以觀賞和瞭解這些知識分子的工作和他們的思想──如果社會完全切斷了聆聽這些知識分子和藝術家聲音的管道的話，我覺得那很可怕。
當然不是說我光拍兩部紀錄片就能建立起這個管道，而是說我們應該有意識地重新建立知識分子思考跟公眾聯繫的管道。比如《東》的DVD跟著《三峽好人》在中國賣了六十萬張，這當中可能只有十萬人真正看到，他就可能聽到劉小東對變革、對生命、對肉體在這個時代裡怎麼被安排，這種聆聽、這種工作，我覺得是需要去做的。
蔡明亮：這就好像之前羅浮宮和故宮找我去拍片，我不是學繪畫美術的，為什麼找我？我想是因為我的電影是回到「觀看」這件事。創作的被觀看也在我的算計裡，而且我也一再強調觀眾絕對要有觀看的態度，這也是美術館所強調的，我想這就是我常被找去拍美術館的原因吧，他們可能覺得我可以把電影院觀眾帶進美術館，美術館觀眾也會被帶到電影院來。
講到觀看，我想到作為創作者在攝影機前對著一個對象，我永遠在尋找一個恰當的距離，是符合我心裡閱讀的角度。因為我的電影不是以敘述故事為目的，而是透過閱讀的過程，引發你的思考或感受。這樣的觀看當然需要分析，而不是全然投入，或者說即使投入也不是平常看電影投入劇情的方式。
我的影像是節制的，節制到有時候是造成剪接麻煩的，因為我只拍我要的，而拍了就是要的。還沒拍就要思考怎麼拍，拍的當下就是最重要的判斷，而不是拍了但我不知道有沒有力量。這就是我所謂的嚴肅面對創作問題──我常說影像的駕馭不是拿起攝影機就行，是牽涉很多拍攝者的能力，這是複雜的。這也是我說為什麼要慎重面對拍攝這件事情。拿起攝影機，無論紀錄還是劇情，你心裡到底有沒有在創作？你想傳達什麼樣的訊息跟觀點？有沒有可能用你的影像傳達觀點說服別人？拍攝絕對不是靠故事打動人的， 因為雷同的故事太多。
賈樟柯：以拍紀錄片來說，我也覺得距離感很重要，這個距離感造成拍攝和被拍攝者關係的問題。我總是停止在一個距離上，盡量不跟被記錄者交談或者發生關係，也很少用採訪的方法，讓人家意識到攝影機存在。
這是美學上的口味。我覺得人表層的東西能揭示非常豐富的資訊，沒必要過深地介入到他生活具體的事情和細節裡面，而是他狀態的細節，他的皺眉、沉默、抽菸、走動……在有距離的觀看裡面，我們透過片段組織出他的面貌，而這個面貌會調動觀眾的生命體驗去理解和感受。這個調動過程特別有意思，我們提供的影像是可以調動別人的記憶的。如果你非常被動，不願意調動自己的記憶與感情，你可能就會覺得這個電影很悶；如果你有了生命的閱歷，有了這種情感互相補充和溝通的閱歷，那麼你或許就不覺得悶了。
影像映現的真實與力量
蔡明亮：老實說，我覺得紀錄片跟劇情片沒有所謂的界線。我的意思是，其實所謂的界線並不存在。拍什麼也好，不需要拘泥怎麼拍才叫紀錄片或劇情片。這都是不停要被開發的，影像本來就該如此，不斷向前。確實是兩種不同操作方式，但對觀眾可以造成的力量，是一樣的。
賈樟柯：我拍紀錄片時不會很明確地感覺到我是在拍紀錄片還是劇情片，拍攝的感受是完全一樣的，因為在我紀錄片裡面也有很多擺拍和主觀的介入。我覺得電影的真實是一種美學層面的真實，它不應該對法律層面的真實做一個承諾，所有的東西是為美學的真實服務，所以拍的時候很自由。
有趣的是，一般經過長時間觀察、深思熟慮的東西，我往往會用劇情片的方式來拍，寫劇本、有故事、有演員；而我感覺到、捕捉到，但從未觀察和介入的生活和事件，我會用紀錄片的方法拍攝，這個過程也是我接近和理解這個人或者事物的過程。
我有意識地把《小武》、《站台》、《任逍遙》做成一個「家鄉三部曲」。《小武》是九七年做的，講經濟開始轉型時期的故事；《站台》實際上是七九年到九○年，十年裡面中國的變化。從時間上來說的話，《站台》應該是第一部，《小武》是第二部，《任逍遙》是第三部，二○○○年。它們形成了中國的中小城鎮普通人生活的畫卷。這樣的安排就是來自紀錄片的思路，一種紀錄片才能達到的美學效果和野心。
蔡明亮：我也常思考電影的本質。就說我長期拍攝李康生這個演員這件事，我對李康生的使用跟其他導演常用某些演員有點不同，甚至跟楚浮拍尚．皮耶．李奧也不同──因為很多人會拿我和楚浮一起說。
我拍李康生有點像記錄這人。我每次處理他的角色會創造一些關聯，但絕對也因為是由他來演。
那天王墨林看完李康生自編自導的《幫幫我愛神》後，他看著李康生說，「怎麼有你這麼幸福的演員？我從看《青少年哪吒》就看你，一直從二十幾歲看到你三十幾歲，你一直在改變，也都被記錄下來了。」就是這樣，雖然他一直扮演不同角色，但有一半是李康生。慢慢我就知道，骨子裡我對「真實」和「電影」有一種模糊的界線。在紀錄片，沒人可以真的坦蕩蕩地讓你拍每一刻，但在劇情片，演員可以，那影像是非常精確的，你要他做什麼，他都可以做，但到底什麼是真實？我覺得這有時候是模糊的，這個媒介因而讓你感動。
於是我捕捉李康生這演員的細微變化，就接近於我對「真實」的一種追求。我達不到「真實」，但我起碼可以讓你覺得，李康生的改變是真的，他的年齡、體態……我覺得，這是我在商業體系裡抓到自由創作給我的一個回饋，就是李康生真實的改變。他是紀錄片，也是劇情片。
李康生這演員，包括他演出的角色，他演出的方式，就有些紀錄片跟劇情片的模糊地帶。這也可以破解掉某些迷思，就是所謂紀錄片跟劇情片的定義，已不再重要了。
賈樟柯：你長期和小康合作，有一個非常讓我佩服的地方就是，你們彼此的信任逐漸在電影裡有一種突破禁忌的力量──這會帶給社會一種可能性，例如《天邊一朵雲》的大膽和放開，還有人內心的情慾和孤獨感，你的講述和描繪，特別對中國文化來說，讓我們可以到很深的地方理解人的內心狀態。
我剛才說我拍紀錄片的時候覺得跟劇情片沒有區別，反過來說我拍劇情片的時候也覺得與紀錄片沒有區別。甚至在我很多電影裡面，我希望可以做到文獻性。若干年後，人們看一九九七年《小武》的時候，裡面所有的聲音、噪音，就是九七年中國的聲音，它經得起考據──我有這樣的考量在裡面。
另一方面，我也經常以記錄的角度觀察人物，拍出他自身的魅力和美感。比如說王宏偉，《小武》拍到一半的時候就已經基本是在記錄他這個人的節奏；後來和趙濤的合作，從二○○○年的《站台》到《三峽好人》，她形成了一個畫廊：這個女孩子從她二十出頭到二十七、八歲的過程，她的成熟、變化、飾演角色的改變。她演繹了一個中國女性時間性的轉變，從這種角度來說，也是一種紀錄片。
蔡明亮：終歸一句，到最後，無論紀錄片或劇情片，影像不能只是談議題，議題太多也太多人講了，什麼作品能有力量，能提升人的敏感度？影像的力量在這時代被浪費掉了，是我覺得最可惜的事情。
蔡明亮。一九五七年出生於馬來西亞，高中畢業後前往台灣，就讀文化大學影劇系。學生時代便開始編導舞台劇，之後則進入電視圈撰寫劇本。九三年，執導第一部劇情片《青少年哪吒》獲東京影展銅獎，九四年《愛情萬歲》更一舉擄獲威尼斯影展金獅獎、費比西獎、金馬獎最佳導演等獎項，奠定其國際知名導演的地位。近年除拍攝《你那邊幾點》、《天邊一朵雲》、《不散》、《黑眼圈》外，○二年亦以紀錄片《與神對話》獲邀參加「馬賽紀錄片影展」。
賈樟柯。一九七○年出生於山西汾陽，後至北京就讀電影學院文學系；九五年展開電影編導工作。九七年首部長片《小武》獲得柏林影展青年論壇首獎和法國南特影展最佳影片，被稱為「亞洲電影閃電般耀眼的希望之光」；其後的作品《站台》、《任逍遙》、《世界》、《三峽好人》等亦獲得國際重要獎項及關注。除劇情片外，亦拍攝《公共場所》、《東》、《無用》等紀錄片，後者獲○七年威尼斯影展地平線單元紀錄片獎。
Jan 22, 2008
Jan 20, 2008
Jan 18, 2008
Jan 16, 2008
Jan 1, 2008
Subscribe to:
Posts (Atom)
