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Shih Chien University
P0202019
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mook jong
magnificent
moirefringes
late qing dynasty
worship
religion
pattern
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Report
主題：一代宗師。 意像：雲煙、飄逸感、大時代。 理念： 以一代宗師電影時空、人物角色，作為發想架構， 劇中時代感描繪出許許多多滄殤沉重氛微， 思考到在王家衛導演前，已有葉偉信導演拍攝， 以美學角度來比較，王導演的唯美光影影像，濃厚的個人風格， 更高明不俗將葉問武術修養，帶到更深層思想哲學。 面對王導演所拍攝高要求作品，同時思考，該如何將自身色彩帶入此次服裝作品當中， 為此，反覆的觀看電影揣摩，只為求能更靠近王導演，漸漸理些出眉目， 電影當中，時間於空間的切換，似對於往事逝去，昇華出飄邈且慢的第一感受， 因此，往事如雲煙，如意雲紋應用是我第一步的具象轉化， 接下來是該如何定義出，內心正發酵的記憶色調， 想像著空間，充斥著煙霧，煤炭火車的蒸氣、鴉片死亡氣息、祠堂線香瀰漫，煙頭菸草絲燃起特寫， 看到的是空氣顆粒經陽光折射後，種種迷幻光芒，類似記憶當中的馬卡龍氛微色調， 自身企圖著，將上海法國租界時空作新時代的某種連結，屬於不存在的時代幻想， 此外電影經典台詞所說：『點一盞燈。要知道念念不忘，必有迴響，有燈就有人』， 是電影詞彙中，印象頗為深刻的，此系列也確實需要某種點睛元素，同時得兼具人文氣息， 回想電影出現過的視覺象徵，從張永成點的燈、宮二起願的佛燈、到葉問離開時看著燈還亮時的安心 ， 終明白了『有燈，就有人』，我尋求了華人信仰文化中，神明廳所使用的光明燈物件， 來決定做此系列必要的存在感，以不張揚的家族元素，貫穿系列， 同時與奶油雲圖，如同中式瓜皮帽象徵，宮二家主風華般，做甜點記憶重疊呼應， 旗袍領造型的變形轉化，則是參考了蛋糕甜點，以高領來隱喻不在張揚，而在藏的款式概念， 叉裙又如馬褂般的律動表現，扣連著飄逸感，皆是為求統一出中西文化不同時空的共通脈絡。
P0202019
陳葵
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It’s more than fair to say that Wong Kar-wai’s movies are not easy to understand. The Hong Kong director rarely focuses on narratives in his works. Yet, he is undeniably an excellent storyteller who always feeds audiences with a visual and emotional feast.
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His latest effort, The Grandmaster, is another of Wong’s typical movies: light on narrative, but full of his trademark elegance, the movie weaves the director’s familiar themes of love, loss and the corrosive nature of time around gorgeous martial arts sequences.
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When Wong first announced his intention of creating the movie in 2002, it was described as a biopic of Ip Man, a real-life master of the Wing Chun school of martial arts. Even though we know that Ip will eventually prosper, Wong’s version of Ip (Tony Leung) is a portrait of a sad, isolated figure, and much less accessible than director Wilson Yip’s portrayal of the same character in the Ip Man series.
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In The Grandmaster, the narrative is framed by Ip’s perception of the world, outlined in voiceovers explaining his background and his observations of life and the people around him.
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The movie, however, also dedicates a lot of screen time to Gong Er (Zhang Ziyi), the daughter of Gong Yutian, a martial arts master from northeastern China. Other masters weigh in with their philosophical and physical presence as well.
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Wong is a fan of recurring themes and The Grandmaster is no exception. For example, time proves once again to be the greatest enemy, causing people not only to grow old but also to forget the things they hold dear. In this movie particularly, the idea that age makes them weak and less able to defend themselves troubles the martial arts masters.
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Ultimately, the movie poetically delivers the wisdom of martial arts tradition in which Ip was deeply entrenched.
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But it’s not always easy for the audience to understand what Ip is thinking or what the story is trying to convey.
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As a line in the movie goes: “They say, live without regrets. But how boring life would be if there was no regret.�
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The culture of martial arts is entrenched in a profound philosophy of life.
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