主辦 Presented by 資助 Supported by 623 10 20 22 reeltoreel.org reeltoreelhk
「REEL TO REEL 影像溯源」於 2020 持和協助！司、版權持有人、電影創作人、藝術家，以及嘉賓講者，對本節目的支今屆得以舉辦，在此特別感謝各地電影資料館和博物館、電影發行公何地，保育視聽文化都會是別具意義的工作。豐富多樣的過去，亦思索未來不同機遇中可能的發展。相信不論在何時光。今屆主題設計以「多重宇宙」出發，帶領我們穿梭時空，喻意電影歷一段睽違戲院的日子，我們更珍惜在大銀幕和全場觀眾看電影的時電影保育並非止於影片的保存和修復，也包含觀影經驗與技術承傳，經保育成果。繼續立足香港，瞻望華語電影脈絡，與觀眾分享華語地區電影資料館的像在數碼時代的應用和展示；「再現．重構——華語電影珍藏與修復」影的感官體驗和文化；「當代菲林創作」以舊片衍用為題，討論菲林影術觀往」追溯菲林尺寸和畫面寬高比沿革，各階段如何構築在戲院看電院——電影的起源➁》出版，回顧戲院和觀影歷史發展同時，「菲林技構——華語電影珍藏與修復」三個專題。配合本機構的故事圖書《入戲今年節目再度圍繞「菲林技術觀往」、「當代菲林創作」及「再現．重交流、教育和研究。特性和技術演進，另一方面期望加強各方對視聽遺產保育工作的關注、新發掘及鮮有機會於本地放映的影像作品，填補影史的遺缺，解析菲林年首辦，一方面藉展示新修復、重 言前 Introduction
We sincerely thank the film archives and museums, film distribution companies, rights holders, filmmakers, artists, and guest speakers for their continuous support and assistance!
This year the programme returns to the structure of three regular sections. In conjunction with our second storybook The Origins of Cinema(going), which looks back on the history of film theatres and viewing experience, ‘A Quick History of Film Technology’ traces the evolution of film gauges and aspect ratios, illustrating how the sensory experience and culture of cinema were developed at various stages; ‘Contemporary Creative Works with Celluloid’ discusses the application and exhibition of celluloid films in the digital age with the theme of found footage; 'Rediscover and Restructure: Chinese-language Lost Gems and Restored Classics' continues to look at the context of Chinese-language cinema from Hong Kong's point of view, and to share the result of efforts from the film archives in Chinese-speaking areas.
Besides film preservation and restoration, film conservation also concerns the film viewing experience and the technology involved. As cinemas open their doors again after a rather long intermission, moments spent in front of the big screen with fellow audience members become even more treasured. Themed around the idea of a ‘multi-verse’, this year’s programme takes us on a journey across the cinematic universe to explore its diverse past and imagine its possible futures, where we will find the work of film conservation indispensable regardless of which world we are in.
Since 2020, ‘Reel to Reel Film Heritage’ has been showcasing newly restored, rediscovered and rarely seen films as a way to revive what has been forgotten in film history, and to explain the evolution of film technology in parallel with discussions of the characteristics of celluloid film and digital media. On the other hand, we aim to raise awareness of the preservation of audio-visual heritage in the hope of strengthening the exchange, education and research in this field.
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電 例子包括用，令畫面比例縮小至術，菲林的左邊齒孔和畫面之間被聲軌佔二十年代末有聲片出現，引入光學錄音技默片廣泛使用。為由柯達公司出產的也有許多種類。愛迪生和威廉迪克遜研發、幅和齒孔形狀位置各有不同，因此畫面比例早期因發明家使用不同物料和器材，菲林片何影響觀眾的觀影經驗。本專題冀介紹一些重要時期的技術轉變，如新藝拉瑪體（Cinerama）誕生七十周年，論。今年適逢面，這些菲林技術獨有的細節因而鮮有人討但觀眾一般侷限於呈現在眼前的畫影菲林尺寸和畫面寬高比沿革悠長，9.5毫米菲林誕生一百周年及35毫米菲林，畫面比例1.33：1（或是4：3），自1909年起為1.16：1，最著名的Movietone系統，但因為畫面過 1.66、1.75入勝的不二法門，電影公司相繼推出畫面達銀幕電影反而成為突顯電影比現實更引人直至五十年代電視興起，電影觀眾銳減，闊影的器材，令電影公司沒有延續相關製作。惜因為戲院商不願投資增設能放映闊銀幕電怪盜》（1930）在攝影上就大有突破，可如羅倫韋斯以同時，一些電影公司開始製作闊銀幕電影，比例。1932原來的規格已經被改變，美國影藝學院遂於面高度，在放映時將放映機鏡頭倍數放大。加闊了每格菲林之間的黑色分格線，減低畫後，電影公司為了重現慣性的畫面寬高比，面比例的特點，以非凡的構圖享譽殊榮。之瑙的《日出》（1927）反而因為利用了畫於方正不自然，很快便被淘汰，德國導演茂年提出新的標準為1.37：1，稱為學院Magnifilm技術拍攝的《蝙蝠以及1.85：1的闊銀幕電影。但 《格林兄弟的童話世界》荷里活首映
Hollywood opening of TheWonderfulWorldoftheBrothersGrimm. Courtesy of Cinerama, Inc.
成為本地攝製技術的大躍進。市川崑導演年代初推出邵氏綜藝體弧型闊銀幕電影，司汲取外國電影公司的經驗和技術，在六十術後來流傳到日本和香港等地，邵氏兄弟公頭，成為最成功的闊銀幕電影技術，這套技里活出現，採用全新的光學設備和變形鏡1953「SmileBox」版本，以模擬真實畫面形態。方形畫面結合、上下畫面邊框修改成弧形的2002合的新藝拉瑪體電影，新藝拉瑪體公司於面，目前全球只有三間影院能夠放映三機結以新藝拉瑪體上映時就有招徠。《格林兄弟的童話世界》在合成為闊銀幕的電影畫面，以視覺奇觀作機，同步放映三個有部分重疊的影像，而結年出現的新藝拉瑪體，採用三部電影放映此時亦有些革新技術如面，製造「全景視野」的假象。最下部分，放映時以上述的相似手法放大畫很多闊銀幕電影只是製作時裁走畫面最上和Polyvision和19521962年2.65：1的超闊畫年起開展修復時，另外推出了將三邊年新藝綜合體（CinemaScope）在荷 推動電影潮流。短片和動畫，介紹小片幅菲林和攝影機如何觀眾一睹其令人驚嘆的畫質，亦有一些早期影片公司國電影協會資料館收藏的美國妙透鏡與拜奧EYE映工具難以開放給公眾觀賞。2020等，在數碼技術普及前，因為缺乏相應的放的影像，如的走極端，前者由限制和商業發展，家用或業餘與電影工業各菲林尺寸方面，由於攝影和放映機器的技術依然影響着電影製作。代，雖然電影載體已轉變成數碼，畫面比例用電影公司繼續爭相推出闊銀幕格式，甚至應此後，闊銀幕的競賽沒有就此停下來，各大電影技術的巧思。情》（1961）便展示了亞洲在應用和創新的《炎上》（1958）和陶秦導演的《不了65毫米菲林攝製更廣闊的畫面。直至近16毫米、9.5毫米縮到最小8毫米和超8。一些以其他菲林規格拍攝9.5毫米、17.5毫米和68毫米年荷蘭電影博物館克服了重重困難，將其和英1藏品以8K掃瞄和修復，這次能讓 1. 1895 年成立，原名 American Mutoscope Company，翌年在歐洲多國開設分公司。1899 年易名 American Mutoscope and Biograph Company，1908 年簡化為 Biograph Company，並活躍至 1916 年。 菲林技術觀往——尺寸與畫面寬高比AQuickHistoryofFilmTechnology:GaugesandAspectRatios 3
While1932. film studios began to produce widescreen films at this time, like Roland Magnifilm Cinerama 新藝拉瑪體 CinemaScope 新藝綜合體 Early silent films 早期默片 AcademyMovietone1.33:11.16:1ratio 學院比例 2.65:12.13:11.37:12.35:1 4
In the early days of cinema, film stock inventions came in a range of materials, gauges and perforlations in response to the filming equipment used. From 1909 onwards, the 35mm format developed by Thomas Edison with W. K. L. Dickson and produced by Kodak, with an aspect ratio of 1.33:1 (or 4:3), was widely used in silent films.
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With the advent of sound film in the late 1920s, the image size on film was reduced as an optical sound track was added. The Movietone system was a widely known example of adopting such reduction, with a semi-square image aspect ratio of 1.16:1 which soon proved unpopular. Regardless, German director F. W. Murnau exploited this format fully with his acclaimed Sunrise: A Song of Two Humans (1927). Later, thicker, black frame lines were added to reproduce the common aspect ratio; the projector lens magnification had to be increased to accommodate the decrease in image area. In face of such changes, the Academy of Motion Picture Arts and Science established a new standard—the 1.37:1 Academy ratio—in
ital to its presentation, the film gauge and image format of a film are elements too immediate for the audience to overlook— yet sometimes they are. To mark the centenary of the invention of the 9.5mm celluloid film and the 70th anniversary of the groundbreaking Cinerama widescreen process, this programme highlights some of the key technological developments in film gauge and aspect ratio and how they are shaping the cinematic experience.
West's cinematographic breakthrough The Bat Whispers (1930) made in the Magnifilm process, they soon refrained from doing so, learning that theatre operators were reluctant to invest in equipment required to project widescreen films. It was not until the 1950s, with the rise of television, that this process became apparently the trump card to get audiences back to the cinema. Films in aspect ratios 1.66, 1.75 and 1.85:1 were released since. However, many of them were merely creating the false impression of a panorama by simply cropping the top and bottom of the images and projecting them with increased magnification.
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Due to technical limitations and commercial developments in filming and projection equipment, the evolution of film gauge for domestic or amateur use went an entirely different direction from that of professional film, with the former going from 16mm and 9.5mm to as small as 8mm. Before the spread of digital technology, the lack of compatible projectors has made it a challenge to show to the public images shot in non-standard formats (such as 9.5mm, 17.5mm and 68mm). In 2020, the Eye Filmmuseum in the Netherlands overcame one such challenge by scanning and restoring in 8K a selection of 68mm films from the Mutoscope and Biograph1 Collections of the museum and the British Film Institute, making it possible for viewers to experience their remarkably high quality. A compilation of these films will be shown in this programme, along with early shorts and animations that illustrate the role small-format film and cameras play in film innovation.
making a wide stride in local filmmaking. Both Kon Ichikawa's Conflagration (1958) and Doe Ching's Love Without End (1961) demonstrate the Asian filmmakers' ingenuity in their application of and innovation with film technology.
Meanwhile, innovative processes like Polyvision and Cinerama were introduced to create visual spectacles by simultaneously projecting three reels of film with partially overlapping images seamlessly merged onto a wide screen. In its 1962 release, The Wonderful World of the Brothers Grimm was presented in Cinerama with an ultrawidescreen 2.65:1 aspect ratio. Currently there are only three film theatres around the world equipped to screen films made in the three-strip Cinerama process. During the restoration of Cinerama films from 2002, an alternate 'SmileBox' version was rendered by curving the three-panel image towards its centre to simulate Cinerama's wraparound effect on a flat screen.
1. Founded in 1895 and named American Mutoscope Company, with branches around Europe the next year and active until 1916; renamed American Mutoscope and Biograph Company in 1899 and then Biograph Company in 1908.
The race for the best widescreen process did not stop there. Film studios continued to compete with new widescreen formats and produce films with wide film gauges like 65mm for enhanced definition. While the medium of filmmaking is switching from analogue to digital, aspect ratio remains an essential consideration in presenting the filmmaker’s vision.
Introduced in 1953, with its new optical equipment and anamorphic lenses, the more flexible CinemaScope became the most successful widescreen process in Hollywood that later spread to Japan and Hong Kong, with Shaw Brothers’ Shawscope process
妙透鏡是由威廉迪克遜和 Herman 1902拍攝和放映，所以畫質更清晰流暢，在35能夠將影像投射到幕上。由於畫面尺寸比1，利用橡膠帶帶動菲林在機器上轉動，菲林改為條帶狀，畫面寬高比約1895動影像效果，片長約一分鐘。他們其後於頁機器上，由觀眾以手柄翻動菲林製造活任何齒孔，85068發明的投幣式觀影裝置，使用獨一無二的Casler毫米巨型片幅菲林，而且畫框上沒有張菲林獨立連接在圓筒翻年發明了拜奧攝影機和放映機，將1.35：毫米超出約六倍，以每秒30格的速度年前受廣泛使用。
68 68mm毫米菲林實物照filmstrip.Courtesy of Eye Filmmuseum 6
Invented by W. K. L. Dickson and Herman Casler, the Mutoscope is a coinoperated, hand-cranking viewing device using its unique 68mm large-format unperforated film. Typically 850 individual cards with images of photographic prints are attached to a circular core to give a reel of one-minute long. Dickson and Casler later invented the Biograph camera and projector for film in strips with an approximately 1.35:1 aspect ratio. Fed into the mechanism with rubber bands, the images can be projected onto screen. With an image size six times of 35mm film and a 30 frames-per-second filming and projecting rate, the images are sharper and films seem smoother, making it widely used by 1902.
最早的歐洲流動影像紀錄輝煌的拜奧： The Brilliant Biograph: Earliest Moving Images of Europe 修復版 Restored Version 歐洲 51黑白及手繪上色Europe｜1897-1902｜B&W,Handcolouring｜分鐘min｜DCP｜默片配樂Silentwith score｜ 英文插入字幕、中文字幕 Eng intertitles & Chi subtitles 《輝煌的拜奧》製作特輯 The Making of The Brilliant Biograph 荷蘭 Netherlands｜2020｜彩色 Colour｜9 分鐘 min｜ DCP｜英語 English｜中文字幕 Chi subtitles 荷蘭 EYE 換及修復史，以及如何克服技術限制，以數碼方式轉博物館團隊講解拜奧影片電影的歷68毫米巨型片幅菲林。 A team from Eye Filmmuseum offers a short history of the Biograph films and discusses the technical challenges in digitising and restoring the museum’s Biograph 68mm film collection. 15/10 ( 六 Sat) 16:35 BC 設網上講座，講者 Elif Rongen-Kaynakçi， 詳情請參閱第 19 頁 Online talk by Elif Rongen-Kaynakçi. See details on 同場放映《蝙蝠怪盜》P.19 Screening with TheBatWhispers 7
紀歐洲之旅。的重大轉變，帶領觀眾在時空中來一趟十九世120畫面鉅細靡遺、真實生動，就像打開一個個農鄉、城鎮、工廠碼頭等人民社會生活百態，分鐘的短片，由海岸、山嶺等大自然風光，到前。這部影片分為五個章節，包含五十多段一掃瞄技術推陳出新，才令它們重現於觀眾眼或數碼轉換，令畫質大打折扣。直至近年菲林料館裏，有些只能複製至特菲林格式的放映機，令大部分影像封存在資因為只有菲林孤本，以及缺乏可以放映這種獨國，拍下當地現存最古老的流動影像風土誌。帶着嶄新發明的菲林和攝影器材，走訪歐洲多電影出現初年，美國妙透鏡公司的攝製人員，35毫米菲林作放映年前的時間囊，展現第二次工業革命帶來 數碼電影格式。
荷蘭 EYE 電影博物將其及英國電影協會資料館的藏品， 以 8K 掃瞄和數碼修復後，製成 4K
In the early years of cinema, Mutoscope's US crew travelled to Europe with their newlyinvented film and camera equipment to capture the oldest surviving moving images of the continent. Due to film rarity and absence of compatible projectors, most of these film stocks have been either remaining in archives or copied onto 35mm films for projection and digitally transferred, with image quality greatly reduced. Only until recently, advances in film scanning technologies allow audience to experience these images' full glory. Divided into five chapters containing over fifty oneminute clips, this compilation offers glimpses of life in Europe at the turn of the 19th century like one-minute time capsules from 120 years ago, from natural landscape and rural and urban environments, to people at work and recreation, capturing movement with rich detail demonstrating the major changes brought about by the Second Industrial Revolution. Eye Filmmuseum digitised and restored the original 68mm materials in its and the British Film Institute’s collections. 4K DCP was then produced.
影只有《蝙蝠怪盜》。和銀幕，令這種技術一瞬即逝，曾出品的電放映機，故不願意再花費安裝闊銀幕放映機院商在有聲片出現後，已斥資安裝擴音機和底片亦和後來出現的研究指出很大機會是目前還未確定其採用的是何種攝影機，但有FearlessSuperfilm，原65毫米菲林相對應。戲
羅倫韋斯 Roland West（1885-1952） Whispersdelivering30s,Renowned的器材和攝影手法攝製。統創作懾人的視覺效果。《蝙蝠怪盜》即是以自創二十至三十年代初著名黑色電影導演，熱衷打破傳forhisnoirfilmsinthe1920sandWestdefiedconventioninhispursuitofsensationalvisualeffects.TheBatisonesuchfilmmadewithhisself-devisedequipmentandmethodologies.15/10 ( 六 Sat) 16:35 BC 同場放映《輝煌的拜奧》及製作特輯 Screening with TheBrilliantBiograph and the making-of 修復版 Restored Version 美國 USA｜1930｜黑白 B&W｜ 84 分鐘 min｜35mm（闊銀幕版Magnifilm Version ）｜ 英語 English｜中文字幕 Chi subtitles 導演 Dir 羅倫韋斯 Roland West 攝影 DP Robert H. Planck 演員 Cast 車士打摩利士 Chester Morris、 Una Merkel 8
While research points to the Fearless Superfilm as the kind of camera used in this process and the original negative film corresponds to the modern 65mm film, this has not yet been established beyond doubt. Theatre operators just having speakers and projection equipment installed for the transitioning to sound films were reluctant to invest further in widescreen projectors and screens, incidentally leading to Magnifilm's rapid obsolescence, with The Bat Whispers as the only film presented in this process.
作品《蝙蝠俠》的靈感來源之一。運鏡，是當時電影創作的一大突破，甚至是漫畫有聲片製作，德國表現主義手法配合飛簷走壁的劇，重拍自己當中的惶惶忖測。羅倫韋斯二度改編百老匯舞台胎，後來連番有人被殺，引來「蝙蝠」就在眾人人陰差陽錯下來到銀行家的郊外大宅，各懷鬼料只是聲東擊西，真正目的是打劫銀行金庫。眾自稱「蝙蝠」的神秘盜賊事先張揚逃逸大計，詎1926年的作品，由默片進一步挑戰
TheBatWhispers
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A mysterious criminal known only as 'The Bat' announces his escape to the country as a decoy for him while he robs a bank. In the banker's country mansion, meanwhile, occupants—each with their own ulterior motives—were 'haunted' by mysterious noises, a threatening note and then murder, leading to suspicion that the Bat is among their midst. West's sound film remake of his own silent picture from 1926 based on the Broadway play The Bat is highly original for its time featuring roof-hopping sequences with German Expressionist touches, and has become an inspiration for Bob Kane's creation of Batman
本片共有三個版本：兩套以 35 毫米菲林拍攝，寬高比同為 1.33：1 的美國本土和國外版本，一套以 65 毫米菲林拍攝， 寬高比為 2.13：1 的 Magnifilm 闊銀幕版本，為最早的闊銀 幕電影之一。1988 年，美國加州大學洛杉磯分校電影電視 資料館與 Mary Pickford Foundation 合作保存及修復國外 版本和 Magnifilm 版本，後者以光化學修復後縮印到 35 毫 米菲林放映。 35mm restored print courtesy of the UCLA Film & Television Archive
蝙蝠怪盜
The film was shot in three versions: a pair of 1.33:1 aspect ratio, 35mm negatives for US domestic and foreign prints; and a 2.13:1 aspect ratio 65mm widescreen Magnifilm version, which is one of the first widescreen films ever made. In 1988, the UCLA Film and Television Archive restored and preserved the 35mm foreign version and the 65mm Magnifilm in cooperation with the Mary Pickford Foundation, with the latter in 35mm reduction prints upon photochemical restoration.
Invented by American Theodore Case in 1925, it was one of the earliest sound film technologies. Case and his assistant Earl Sponable worked with Wall Camera Corporation to rebuild a single-system camera to record the sound as a variable-density optical track on the same strip of film that records the pictures, with the sound track starting 37mm further down the strip to achieve sound-picture synchronisation. Leaving room for the sound track means that the frame aspect ratio is reduced to 1.16:1. The 24 frames-per-second standard filming and projecting rate is still used today. Rights to this system are later acquired by Fox Film Corporation for its production of feature films.
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美國人 Theodore Case 於 1925 來拍攝劇情片。至今。此技術後來被霍士電影公司收購，用採用每秒軌位置，畫面比例收窄到只有37密式聲軌錄製到底片上機，在拍攝影像同時以光學錄音方法，將變CorporationSponable為最早的有聲片技術之一。他和助手Earl年發明，與攝影機生產商WallCamera合作，改裝了一部一體式攝影（聲軌比畫面延後約毫米達至聲畫同步）。因為要預留光學聲1.16：1，而且24格的放映／拍攝速度標準，沿用
茂瑙 F. W. Murnau（1888-1931） FaustforGerman和電影技術里程的作品。到荷里活後首部電影《日出》被視為最有歷史價值殭屍》（1922）和《浮士德》（1926）享負盛名，德國電影導演，二十年代已憑多部佳作包括《吸血filmdirectorMurnauwasrenownedacclaimedworkslikeNosferatu(1922)and(1926).Nowconsideredamilestoneinfilmmakinghistoryandtechnologicalinnovation,Sunrise:ASongofTwoHumansishisAmericanfilmdebut.
是次放映 2004 年修復版 35 毫米拷貝，由英國電影協 會資料館重新發行。
修復版 Restored Version
1. Unique and Artistic Picture，只設於首屆的獎項。 Unique and Artistic Picture was awarded in the 1st Academy Awards only. 日出（又名：情海波瀾）
英文插入字幕、中文字幕
美國 USA｜1927｜黑白 B&W｜94 分鐘 min｜ 35mm ｜默片配樂 Silent with score｜ Eng intertitles & Chi subtitles Dir 茂瑙 F. W. Murnau DP Charles Rosher、 Karl Struss Cast 佐治奧勃蘭 George O'Brien、 珍納姬娜 Janet Gaynor、 花留麥當奴 J. Farrell MacDonald
導演
A 2004 restoration with 35mm print re-released by the British Film Institute.
特和藝術電影勇奪首屆奧斯卡最佳女主角、最佳攝影及獨1三項大獎，亦是霍士電影公司首部出品的Movietone有聲劇情長片，但茂瑙選擇保持默片風格，全片配以管弦樂和部分聲音效果。鄉間農夫被來自城市的時尚女子迷惑，甚至打算謀害糟糠，幸好迷途知返，夫妻二人重歸於好，誰知道突如其來的一場暴風雨才是愛情最大的考驗。貼近方型的畫面比例，在燈光、攝影和構圖間充滿德國表現主義風格，將農村的陰鬱、都市的繁華和人心的善惡以對比手法表露無遺。
攝影
Sunrise: A Song of Two Humans is the 1st Academy Awards winner of Unique and Artistic Picture 1 and Best Cinematography, and Janet Gaynor won her Best Actress in a Leading Role for her performance.
15/10 ( 六 Sat) 14:10 BC 設映前簡介 Pre-screening Screening同場放映《百年後的某日》及《沉沉復游游》introductionwithADayafteraHundredYears and Swim and Swim 11
For Fox Film Corporation's first Movietone sound feature, Murnau kept on his silent film style with a musical score and partial sound effects. Beguiled by a girl from the city, a farmer plots against his wife. Realising his lapse of judgement later, he makes up with his wife, only to face their real challenge in the form of a storm. The squarelike aspect ratio and the German Expressionist lighting, photography and framing create stark contrasts between the gloomy countryside and the affluent city, and the evil and the good.
演員
Sunrise:ASongofTwoHumans
百年後的某日
A Day after a Hundred Years
9.5毫米拷貝菲林實物照9.5mmfilmstripoftheoriginalpositive
17.5
The 17.5mm film was first created in 1898 with the Birtac camera. The frame size and perforlation went through several different iterations up until the end of the Second World War.
17.5mm
12
The 35mm print is a blow-up of a 9.5mm original positive that was donated to the National Film Archive of Japan by the family of Shigeji Ogino. The digitisation was done in 2011.
日本 Japan｜1933｜黑白 B&W｜11 分鐘 min｜ 數碼 Digital｜默片配樂 Silent with score｜ Japanese日文插入字幕、中英文字幕intertitles,Chi&Eng subtitles 導演 Dir 荻野茂二 Shigeji Ogino 或是創作意念都是當時嶄新之作。飛上火星。剪紙加上真實影像，不論是故事間，利用未來科技遊走古今，甚至穿越太空百年人事幾番新，戰爭亡靈受召喚重返人
The spirit of a soldier died during the WWII is brought back to a hundred years later to travel through time and even set out for Mars. Mixing paper cutting and real footage, this short film is original for its time in both plot and craft. 原片為 9.5 碼轉換。電影資料館，該拷貝放大沖印至毫米拷貝，由荻野茂二家人捐贈予日本國立35亳米菲林後再作數
法國百代於 1922 即在歐洲和海外大受歡迎。屬廉價、易於攜帶和操作的家用器材，旋統，採用中間單獨齒孔的年推出的攝影和放映系9.5毫米菲林，
The Pathé-Baby camera and projector was an inexpensive and easy-to-use amateur film system introduced in 1922 by Pathé. It used 9.5mm film with central perforations, the portability and simplicity of the PathéBaby made the system widely popular in Europe and then the overseas.
Pathé-Rural 毫米菲林 film for Pathé-Rural
17.5 毫米菲林最先在 1898 年與 Birtac 代。狀在二戰前有多次迭大小，以及位置和形影機一同研發，畫格攝
陳庭章
15/10 ( 六 Sat) 14:10 BC 設映前簡介 Pre-screening introduction Screening同場放映《日出》withSunrise:ASongofTwoHumans 《百年後的某日》和《沉沉復游游》的配樂由本地音樂人陳庭章創作。ThemusicscoresofADayafteraHundredYearsandSwimandSwimarecomposedbylocalmusicianTimChanforthisscreening. 13
Musicalsorecording,musicperformingfromartist,As械裝置亦感興趣。創作和演奏，對城市聲境紀錄、樂器製作和自動機樂團製作經理。喜歡為劇場、樂團和表演藝術團體本地作曲人、敲擊樂手和媒體藝術家，現職香港創alocalcomposer,percussionistandmediaChan'scompositionalworkcanbehearddifferentcommissions,institutionandgroups.Heisinterestedintheatrecreation,automationengineering,fieldandmusicalinstrument-making.HeistheproductionmanagerofHongKongNewEnsemble.窩心。拍河童以圖扳回賽果，結局出人意表又無限物水運會，烏龍百出不特止，情急之下還夥動畫之一。不諳水性的猴子惡補泳術參加動伴野文三郎原著改編，大石郁雄少數僅存的
Swim and Swim
導演及動畫師，1929
導演 Dir 大石郁雄 Ikuo Oishi Oishi（1902-1944）
日本 Japan｜~1934｜黑白 B&W｜12 分鐘 min｜ 數碼 Digital｜默片配樂 Silent with score｜ Japanese日文插入字幕、中英文字幕intertitles,Chi&Eng subtitles
日本國立電影資料館藏品，原片為
The
This adaptation of Bunzaburo Banno's original work is one of the few surviving animated films by Ikuo Oishi. A monkey who cannot swim puts himself forward as a swimming contestant. Failing to learn to swim at the last minute, he in desperation seeks help from a kappa living at the bottom of the pool in the hope to win the race, and later comes to an awakening both surprising and heart-warming. 17.5 毫米拷貝（畫 面寬高比 1.55：1），於 2011 年完成數碼轉換。 aspect ratio is 1.55:1 for the 17.5mm positive which was donated to the National Film Archive of Japan in 2004. The digitisation was done in 2011.
荻野茂二 Shigeji Ogino（1899-1991） 日本早期獨立電影工作者，多用 8 毫米、9.5 毫米 以及 16 gaugemedia,mainlyAn影的重要推手。毫米為創作媒介，為日本小片幅和業餘電earlyindependentfilmmakerinJapanusing8mm,9.5mmand16mmfilmascreativeOginohasbeenadrivingforceofsmall-andamateurfilmmaking. 大石郁雄 Ikuo
沉沉復游游
TwoanimatorKnown少動畫師，有「日本迪士尼」之美譽。後為東寶的前身寫真化學研究所羅致，他培育了不畫《兩個太陽》，1930年以「大石郁」發表首部動年創立大石線画製作所，asthe'WaltDisneyofJapan',director-OishipresentedhisfirstanimationTheSunsin1929(asIkuOishi).HefoundedtheOishiSengaSeisakushoin1930whichwaslaterabsorbedintoPhotoChemicalLaboratory,thepredecessorofToho,whereheofferedguidancetomanyfellowanimators. Tim Chan
Cinerama debuted with the 1952 release of This is Cinerama. The filming, projection and screening of this process require special arrangements. The aspect ratio 2.65:1 is made possible by shooting with three mounted cameras arranged in a crisscross pattern each using a strip of 35mm film, and projecting with three projectors arranged in the same pattern onto a screen curved to a 146-degree arc, close to the human field of vision, including peripheral vision. Although the Cinerama widescreen process was a major breakthrough, film companies and theatre operators were hesitant to adopt this process due to its complexity and incompatibility with existing theatre equipment.
Few films have been made with the this process; most are travelogues, and only two were fictions, namely The Wonderful World of the Brothers Grimm and How the West Was Won released by Metro-Goldwyn-Mayer in 1962, which were also the last films produced in this process.
1952 年，第一部新藝拉瑪體電影《This 《平西誌》，也是最後採用這技術的作品。1962分是旅遊誌，只有兩部劇情片，是美高梅在以三菲林新藝拉瑪體製作的電影不多，大部影公司和戲院為之卻步。破，但複雜的系統與原有設備不兼容，令電縫合為一。新藝拉瑪體闊銀幕是當時一大突投影，在橫跨錄在三套菲林上。放映時，三台放映機交叉製的攝影機將畫面的左中右三部分，分別記2.65︰1，由三條戲院設備皆有特別規格。其超闊畫面比例達Cinerama》面世，這技術由拍攝、放映到is35毫米菲林組合而成，特146度的弧形銀幕上將畫面年推出的《格林兄弟的童話世界》和
亨利李雲 Henry Levin (1909－1980) offiftyLevin（1960）等。包括《地心探險記》（1959）、《海灘春光》生於美國新澤西州，執導超過五十部電影。作品wasaNewJersey-bornfilmdirectorofoverfeaturefilmsincludingJourneytotheCentertheEarth(1959)andWheretheBoysAre(1960). 佐治柏爾 George Pal (1908－1980) PuppetoonsHethePal奧斯卡最佳動畫短片獎。作著名的《Puppetoons》動畫系列，多次獲提名生於匈牙利，二戰期間移居美國。三十年代開始製wasaHungarian-bornanimatoremigratedtoUnitedStatesduringtheSecondWorldWar.begancreatingtheAcademyAwardnominatedanimationseriesinthe1930s. 格林兄弟的童話世界 The Wonderful World of the Brothers Grimm 修復版 Restored Version 美國 USA｜1962｜彩色 Colour｜129 分鐘 min｜ DCP｜英語 English｜中文字幕 Chi subtitles 中場休息 15 分鐘，全長 144 分鐘 The film runs 144 minutes including a 15-minute intermission 14
Once upon a time, there were two brothers named Wilhelm and Jacob Grimm. To earn a living, they accepted a commission to write a flattering family history for a Duke. While the practical Jacob wants to finish the job, the fantasy-minded Wilhelm prefers to collect fairy tales, losing the manuscript along the way which caused a rift between the brothers. Reenactments of some of the fairy tales created by director-animator Pal were integrated into the main plot. This fabulous film showcases the director's mastery of the Cinerama process and novel animation effects. While some original negatives were long neglected with water damage, the film has been digitally restored to its true Cinerama glory. The SmileBox version shown in this screening digitally recreates the original wraparound experience.
The 4K restoration was scanned from the three 6-perf 35mm original camera negatives and the 7-channel magnetic soundtrack.
導演 Dir 亨利李雲 Henry Levin、佐治柏爾 George Pal 編劇 Scr David P. Harmon、Charles Beaumont、 William Roberts
攝影 DP Paul Vogel
演員 Cast 羅蘭士夏飛 Laurence Harvey、 卡爾波恩 Karl Boehm、 嘉麗寶琳 Claire Bloom、 巴巴拉伊甸 Barbara Eden
覺世界。碼技術重塑新藝拉瑪體弧形銀幕的沉浸式視修復回原貌。這次放映部分底片曾因水浸受損，塵封多時，如今終多種新穎動畫技法，極盡視聽之娛。電影有段落。導演善用富立體感的超闊銀幕，使出《Puppetoons》動畫師佐治柏爾創作的童話道出格林童話是如何煉成的同時，穿插由模樣，為了收集民間故事而耽誤正事。影片的文法書；威廉家庭美滿，卻一副長不大的各為人古板，雖著作等身，但都是無人問津寫不盡不實的家族史。兩人個性迥異，雅各，弟弟叫威廉。他們為了謀生，為公爵編好耐好耐以前，有一對格林兄弟，大哥叫雅SmileBox版本，以數 此 4K 修復版的影像來自三條六齒孔 35 毫米原底片，聲 音源自七聲道磁帶。 9/10 ( 日 Sun) 10:30 PE 設映前簡介 Pre-screening introduction 設網上講座，講者 Kathryn Penny，詳情請參閱第 19 頁 Online talk by Kathryn Penny. See details on P. 19 15
《不了情》（1961）35毫米菲林實物照35mmfilmstripof LoveWithoutEnd (1961) 16
一詞已成闊銀幕的代名詞。的體。其後，荷里活轉向品質更佳版本，如大映綜藝體和邵氏綜藝少電影公司以此原理，研發改良原有器材，旋即成主流。各地不新藝綜合體配備簡單，能應用在例大兩倍有多。2.35︰1），比1格，投射出來的畫面可達例。同樣大小的件，將壓縮的畫面還原正確比放映時亦需在放映機裝上變形配物會左右壓縮投影在菲林上。到攝影機鏡頭前裝上變形鏡頭，景Henri技術早在1953最重要的要數二十世紀霍士在五十年代湧現多種闊銀幕技術，年推出的新藝綜合體。此1920年代由法國人Chrétien發明，原理是在35毫米菲林畫2.55︰的比例（後因光學聲帶改為1.37︰1學院比Panavision鏡頭，不過scope
As CinemaScope required simple alternations to existing theatres compared to Cinerama, it soon became the mainstream format with film studios around the world coming up with improved versions like Daiei Motion Pictures' Daieiscope and Shawscope by the Shaw Brothers. While Hollywood later turned to the better Panavision anamorphic lenses, the term 'scope' remains synonymous with widescreen processes.
Introduced by Twentieth Century Fox in 1953, the CinemaScope was a major player among the surge of widescreen technologies in the 1950s. It is based on an invention of a new film process by Frenchman Henri Chrétien in the 1920s using an anamorphic lens on the filming camera to compress the image laterally and dilate the image when projected with corresponding attachments. With 35mm film in the same frame size the aspect ratio of the projected image is 2.55:1 (later reduced to 2.35:1 with the addition of an optical sound track), which is more than twice of that of the 1.37:1 Academy ratio.
因 35 毫米原底片散失，此 4K 數碼修復版的聲畫 掃瞄自 35 貝補上。林缺失，則由日本國立電影資料館收藏的放映拷毫米中間正片，其中第六本有四格菲 炎上Conflagration 9/10 ( 日 Sun) 15:00 PE 設映前簡介 Pre-screening introduction （1915-2008）Kon市川崑Ichikawa 生於日本三重縣。初在 JO atStudio.Born涯。一生執導作品近百，類型多樣。攝影所當動畫師，後轉為副導演，1947年在新東寶開始導演生inMiePrefecture,Japan,IchikawabeganhiscareerasananimatoratJ.O.Hewentontoworkasanassistantdirectorandbecamefilmdirectorin1947Shintoho,withnearlyahundredfilmsinvariousgenresunderhisbelt. 17
修復版 Restored Version
日本 Japan｜1958｜黑白 B&W｜ 100 分鐘 min｜DCP｜日語 Japanese｜
導演 Dir 市川崑 Kon Ichikawa
編劇 Scr 和田夏十 Natto Wada、
Ichikawa's first widescreen feature is an adaptation of Yukio Mishima's novel The Temple of the Golden Pavilion, which is loosely based on the real-life event of the burning of the Golden Pavilion (Kinkakuji) by Zen acolyte Yoken Hayashi in 1950. Mizoguchi, a highschool student who stutters, is taken in by a Zen abbot, a friend of his late father who was himself a monk, to stay and become an acolyte at the Shukaku Temple, whose beauty has long captured his imagination. However, he is resentful to the abbot who runs the temple in ways questionable. With the latest Daieiscope process, Ichikawa worked with photographer Miyagawa to create the world of violence and beauty portrayed in Mishima's novel, highlighting the characters' loneliness and obsession in the negative Zen space created with the simple and clean black-and-white widescreen framing.
長谷部慶次 Keiji Hasebe
Due to the missing of the 35mm original camera negative, the image and sound of this 4K digital restoration were scanned from the 35mm interpositive, with four absent frames in Reel 6 from a print preserved by National Film Archive of Japan. 禪院空間中。下，角色的孤獨和心魔縈繞偌大空盪的的世界。在簡潔工整的黑白闊銀幕構圖的大映綜藝體來表現三島筆下美與暴烈攝影師宮川一夫首度合作，選擇用嶄新正，使自卑的溝口深感憤恨。市川崑與錢成了庸俗的旅遊景點，僧人其身不溺於絕美的幻想。現實中寺院卻為了賺受父親影響，溝口從小神往驟閣寺，沉父親生前好友的住持收留為見習僧人。在僧侶父親去世後來到京都驟閣寺，獲的真實事件為題材。口吃的高中生溝口發生的見習僧人林承賢縱火焚毀金閣寺紀夫的《金閣寺》，該小說以市川崑第一部闊銀幕作品，改編三島由1950年
演員 Cast 市川雷藏 Raizo Ichikawa、 中村鴈治郎 Nakamura Ganjiro II、 仲代達矢Tatsuya Nakadai
英文字幕 Eng subtitles
攝影 DP 宮川一夫 Kazuo Miyagawa
原著 Ori 三島由紀夫 Yukio Mishima
演員 Cast
Lo Chi 9/10 ( 日 Sun) 17:00 PE 設映後談，粵語主講 Post-screening talk (in Cantonese) 陶秦 Doe (1915-1969)Ching 早年在上海當編劇，其後來港加盟長城影業，兼任導演。1952 年轉投邵氏，及後 Specialising曾短暫加入電懋。擅拍歌舞片及文藝片。inmusicalandwenyifilms, Doe worked as a screenwriter in Shanghai in his early career before joining Great Wall Pictures Corporation as a screenwriter and director. He joined Shaw & Sons Ltd. in 1952 and worked briefly at Motion Picture and General Investment Co., Ltd. © Licensed by Celestial Pictures Limited. All rights reserved. 版權由天映娛樂有限公司全部擁有 18
攝影 DP
Lin
1961 填詞，哀怨動人的曲調令人久久未能忘懷。展最佳女主角獎。經典的主題曲由陶秦本人但堅強獨立的不幸女子，第四度榮獲亞洲影卻誤會歌女背叛自己。林黛演活了冤屈自知來的錢輾轉助他渡過難關，不知內情的男生定瞞着情郎答應與傾慕她的富翁出遊，將得離世，留下負鉅債的建築公司。歌女為此決會做歌女。兩人熱戀之際，男生的父親遽然父，遇上關山飾演的富家子，獲介紹在夜總從內地隻身來港，到夜總會投靠當樂手的舅情悲劇《不了情》講述林黛飾演的喪母女生由陶秦執導，有彩色歌舞也有黑白文藝。愛年多部邵氏綜藝體電影上映，其中四部
2000是次放映之高清數碼檔案源自原底片，電影公司於年代初以膠轉磁方式轉換。
An orphaned young woman (Lin) arrives in Hong Kong and becomes a nightclub singer. She strikes up a romance with a rich boy (Kwan) whose father's sudden demise left him heavily in debt. Determined to help her lover through his crisis, she agrees behind his back to accompany a rich man to a trip in exchange of money to help pay the debt, only leaving her lover thinking that he is betrayed. For her role as a woman of grit, Lin won the Best Actress award—her forth—at the 1962 Asian Film Festival. Four of the films produced in 1961 in the Shawscope process were directed by Doe, ranging from colour musical to black-andwhite wenyi film. The lyric of this romance's sorrowful theme song, which has become a classic, was penned by Doe himself.
香港 Hong Kong｜1961｜黑白 Ching 董紹詠 Charles Tung 林黛 Dai、關山 Kwan Shan、 高寶樹 Kao Pao Shu、洛奇
B&W｜ 117 分鐘 min｜DCP｜國語 Mandarin｜ 中、英文字幕 Chi & Eng subtitles 導演 Dir 陶秦 Doe Ching 編劇 Scr 潘柳黛 Pan Liudai、陶秦 Doe
This digital version was telecined in HD from the original camera negative in early 2000s by the film company.
不了情LoveWithoutEnd
新藝拉瑪體闊銀幕電影新維度： Cinerama: A New Dimension of Widescreen Cinema 日期及時間 Date & Time： 06.10.2022（四 Thu）20:00 Zoom 視像會談 Via Zoom online meeting 講者 Speaker：Kathryn Penny 英語主講 In English 新藝拉瑪體於 1952 年問世，只維持了十年 便停產，其以三套 35 窺這個「難得一見」的闊銀幕盛會。Widescreen將介紹新藝拉瑪體技術，以及其策展的館的放映及文化交流主管媒體博物館的機新藝拉瑪體電影，包括英國國家科學及目前全球只有三間戲院可以觀賞到原裝三式，對保存、修復和展示亦是一大挑戰。震撼度一時無兩，這個獨一無二的電影格毫米菲林合併的影像Pictureville影院。來自該KathrynPennyWeekend電影節，讓我們一 Launched in 1952, Cinerama was a groundbreaking 35mm 3-camera, 3-projector process; discontinued after a mere decade of its debut, it posed a major challenge to the preservation, restoration, and exhibition of films presented in this oneof-a-kind format. Kathryn Penny, Head of Screen Operation at the National Science and Media Museum whose Pictureville Cinema is one of the world's three existing cinemas specially outfitted for Cinerama, shares her knowledge of the technology and her work curating the Widescreen Weekend that celebrates everything extraordinary in large format film. 輝煌的巨型片幅電影史 The Brilliant History of Wide-gauge Films 日期及時間 Date & Time： 14.10.2022（五 Fri）20:00 Zoom 視像會談 Via Zoom online meeting 講者 Speaker：Elif英語主講Rongen-KaynakçiInEnglish 影珍藏，以及其修復過程。史發展、介紹該館超過Rongen-Kaynakçi荷蘭有些技術甚至超越現代的拍攝和放映更清晰奪目影像的菲林和設備，電影發明初期，發明家和電影商爭相研發能8K解像度。來自EYE電影博物館的默片電影策劃Elif講解巨型片幅電影的歷120年歷史的拜奧電
In the early days of cinema, innovators and filmmakers raced to come up with film inventions and equipment for everhigher picture quality, which led to technologies that even surpassed today's 8K resolution imaging. Elif RongenKaynakçi, Curator of Silent Film at the Eye Filmmuseum in the Netherlands, talks us through the evolution of wide-gauge film systems, the museum's collection of 68mm Mutoscope and Biograph films, and its work restoring these films made over 120 years ago.
網上講座OnlineTalks 報名Registration 報名Registration 19
樣。他們使用單個或多個原始素材，以手工footage作者或有不同的動機和創作方法，對已存影像片段，故又可歸納成二次創作。創得影像」等，即不需要經過拍攝而得到的Found人和其作品，探索影像作品的各種可能。截然不同。是次介紹一些介，其製作方式、作品所呈現的風格和效果本專題探討菲林創作的不同方法和意義，並強調菲林和數碼作為不同的創作媒foundfootage創作footage亦有譯「現成影像」、「拾found這個術語本身的理解也可以很不一 育人員、藝術家或導演可以接觸資料館、博的可能。不過，長久以來只有少數的電影保人及藝術家，已實踐並印證了後製電影無盡起，一些聞名於實驗或手工電影的影像創作影發明之始已很常見，而從上世紀二十年代判和戲仿。用現成菲林來剪接或加工，從電透過挪用、解構或去脈絡，對原始影像作批意識地闡述剪接美學、敘述故事或議論，也音／樂／評論。過程並非隨意拼湊，而是有畫面；保留或修改原始聲音／配樂、重新配度，甚至在沖印過程中放大縮小、局部取用或數碼方式添加影像、剪接、拼貼、改變速
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當代菲林創作——舊片衍用
T
reedited, dubbed, replaced or commented. Such reworks are not arbitrarily reordering of existing footage, but consciously illustrating editing aesthetics, narrating stories or discourses. It could also be a critique or parody of the original materials by ways of allusion, deconstruction or decontextualisation. Editing or processing existing celluloid film has been a common creative approach ever since moving image was invented. Some artists and experimental and analogue filmmakers have demonstrated the inexhaustible possibilities of reworking existing film materials since the 1920s. Access to film collections at archives or museums had long been restricted to film preservation workers, artists and filmmakers. Thanks to digital technology advancements in the past 20 years, archival footage have become more accessible. The material turn also renews attention on the nature of audio-visual carriers.
his programme seeks to explore the different ways and implications of celluloid filmmaking. Celluloid and digital filmmaking differ in their modes of production, resulting in drastically distinctive styles and effects. Here we introduce some of the filmmakers who work with found footage and look into the many possibilities of moving images.
Found footage is moving images created with pre-existing footage that one obtains without shooting firsthand, and may be understood as derivative works. Filmmakers with different motivations and creative approaches may understand ‘found footage’ very differently.
Contemporary Creative Works with Celluloid: Found Footage
With analogue or digital tools, one reworks a single or multiple found footage by adding, editing, collaging, accelerating or decelerating the original celluloid materials. The footage might be resized, cropped in photographic processing, its soundtrack and music score
alternate spatial realm of moving image. Bill Morrison adopts digital tools and reshapes the audience’s perceptions towards the materiality of celluloid film by slowing the frames, narrating the passage of time and film history with film decomposition. Robin Hunzinger rekindles memories of intimate experience that belonged to his late grandmother with a variety of existing footage. Peet Gelderblom explores the battle of the sexes while unearthing a cascade of incomplete footage of different genres, years and purposes. Resources for found footage filmmaking in Hong Kong are relatively scarce. Linda Lai Chiu-han experiments montage with Cantonese cinema footage and contemplates on the interrelation between drama and reality.
1. Malcolm Le Grice, ExperimentalCinemaintheDigitalAge (London: British Film Institute, 2001), 312.
左起：《典緻軀體》（2015）、《他和她的事情》（2020）及《重重門。門對門。》（2014） From left: TheExquisiteCorpus (2015), WhenForeverDies (2020)and DoorsMedley (2014) 21
British avant-garde filmmaker and artist Malcolm Le Grice perceives found footage as the ideal bridge between analogue and digital technologies.1 With moving images, cultural experiences transcend time and space, while responding to social changes brought about by technological developments. Whether creating with celluloid film or editing analogue audiovisual materials digitally, found footage in recent years involves more and more rediscovered family videos, film classics, TV commercials and unrecognised early footage. Presented in this programme include works by Peter Tscherkassky, who prefers the analogue process in the darkroom, exhibiting the irreplaceable nature of celluloid film while presenting an
之間最理想的橋樑提出，found英國實驗電影導演及藝術家方面使創作人重新關注視聽載體的本質。術發展一方面令這些藏品可更易存取，另一物館的電影藏品，直到近二十年間，數碼技MalcolmLeGricefootage可說是類比和數碼技術1，透過影像，文化經歷可以跨越空間和時間，同時回應技術發展所帶來的社會轉變。無論繼續以菲林實物創作，或以數碼剪接來自類比載體的聲影，近年舊片衍用牽涉更多重新發掘的家庭錄像、經典電影、電視廣告，和未能辨識的早期影像， 令人反思現實和戲劇的相互作用。限，黎肖嫻以粵語片作蒙太奇實驗和批判，天日；本地在現成聲影的創作資源相對有時令大量不完整、難以編目整飭的影像重見彼特格德布就以兩性關係為題，探索敘事同用舊片為外婆的記憶寫上新的意義和歷史；敘述時間的流逝和電影歷史。羅賓亨茲格利重塑觀眾對菲林物料的認知，繼續以衰變來度；標摩利臣則以數碼作為工具，透過慢鏡取代的本質，和影像世界的另一種空間維彼德柴卡斯基仍以手工創作，展現菲林無可其發展實在值得討論。是次介紹的作品中，
美國 USA｜2018｜黑白 B&W｜ 3 分鐘 min｜DCP｜無聲 Silent
美國 USA｜2020｜彩色及黑白 Colour, B&W｜ 11 分鐘 min｜DCP｜無對白 No Dialogue｜ 英文插入字幕、中文字幕 Eng intertitles & Chi subtitles
1895 其畫面因自然化學降解所變成的模樣。些硝酸片曾貯存過在不同地方，本片呈現默片放映前的新聞故事；九十多年來，這他們談論和展示這發明，片段後用以製作影史一個里程碑。1925置，並以「Cinématographe」命名，成為映活動影像的裝部能夠拍攝和放埃兄弟改良了一年，盧米年，有攝影師拍下
1915 年 5 月 7 多在海中尋獲菲林的故事。集關於盧西塔尼亞號的資料，而這為他帶來更由此思考其他也在海上丟失的影片，並開始搜獲打撈。導演本於該片的其中一（1915），Baghdad》Carpet電影《The包含已散佚的影片中，艇擊沉，近尼亞號在離開美國紐約六天之後，被德軍潛日一戰期間，英國郵輪盧西塔1,200名乘客喪命。船上影院所存from1982年
Bill標摩利臣Morrison (1965-)
Based in New York, Morrison makes films that reframe long-forgotten moving images. He made over forty works since the 1990s by using archival materials or pre-existing sources with original music. His films have premiered at the New York, Rotterdam, Sundance, and Venice film festivals. In 2014 Morrison had a midcareer retrospective at MoMA. Since his found footage opus Decasia (2002), he has shown particular interest in the motif of decomposition of film materials.
Sunken Films
館更為其舉辦回顧展。品曾獲世界各地重要影展選映，2014衰變的呈現，往後成為其作品中的重要命題。他的作而成。2002品以資料片段和現成影像剪輯，並配以原創音樂製作九十年代起至今產出超過四十部長、短片，大部分作現居美國紐約，以重塑被遺忘的影像為創作重心，年起，他以《Decasia》開啟對菲林物料年紐約現代美術
新尼風
沉沒的影像
In 1895, one of the inventors of cinema, the Lumière brothers improved the shooting cum projection apparatus, and named it Cinématographe. The footage in this film was from a nitrate film of the Lumières talking about their device thirty years later, shot in the Lumière’s laboratory in Lyon, France. The film has been stored in several facilities since it was first shot in 1925, and all the degradation to the image is a result of its natural decomposition.
On 7 May 1915, the British passenger ship RMS Lusitania was sunk by a German U-boat, six days after it left New York. It killed nearly 1,200 passengers and crew. All the films kept in the cinema on Lusitania sunk to the ocean floor, including the lost feature The Carpet from Baghdad (1915). One of the reels of the film was salvaged in 1982, and it leads Morrison to the stories of Lusitania and other films that have been lost at sea.
Cinematograph
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英語、冰島語、俄語min｜DCP｜English,
中、英文字幕 Chi & Eng subtitles
美國 USA｜2021｜彩色及黑白 Colour, B&W｜ 分鐘 Icelandic, Russian｜
During the summer of 2016, a fishing boat off the coast of Iceland found a surprise catch from the deep waters of the Atlantic Ocean in their fishing net: four reels of 35mm film. After cleaning and examination by the National Film Archive of Iceland, the incomplete print was identified to be the Soviet film The Village Detective (1969). It was nothing like a hidden gem of remarkable significance in the history of Russian cinema, and it wasn’t even the only existing copy. For some Russians of that generation though, it was a popular and much-loved film. The director interviewed the fisherman who found the reels and representatives from the film archive, and delved into Soviet film history and Zharov’s legacy. By reediting the heavily water-damaged frames of visuals, the story of a detective investigating accordion theft is resurfaced, after resting at the bottom of the sea for nearly half a century. Morrison presents a poetic meditation on the passage of time, accompanied by a poignantly beautiful accordion music score by David Lang.
13/10 ( 四 Thu) 19:10 BC 設映前簡介 Pre-screening introduction Talk映後設講座，講者標摩利臣byBillMorrisonafter the screening. 為人知的一面。年幾部以檔案片段剪輯而成的紀錄片，當中的困難和鮮講者將分享多年來舊片衍用的創作歷程，以及介紹他近 The speaker will share the work he has been doing with found footage filmmaking, which involves the creative and editing processes with huge amount of archival footage. 影像的衰變和歷史 The Decay and History of Films 日期及時間 Date & Time： 13.10.2022（四 《鄉村警探之歌》放映後隨即開始Thu）20:45AfterthescreeningofTheVillageDetective:asongcycle地點Venue：百老匯電影中心四院House4,BroadwayCinematheque講者Speaker：標摩利臣BillMorrison英語主講，粵語傳譯InEnglishwithCantoneseinterpretation 講座Talk 23
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The Village Detective: a song cycle
2016 隙之詩，並配以手風琴奏出的淒美樂章。被偷手風琴的故事，聯想成一首嘆駒光過沉睡海底近半世紀的菲林和片中主角追查新剪輯這些已浸壞、滿是水漬的畫面；將開展對蘇聯電影歷史和尋獲菲林的漁夫和電影資料館人員，藉此們來說重要的電影和戲劇演員。導演訪問影，而主角的俄羅斯人來說，這是一部耳熟能詳的電尋獲之拷貝亦非孤本。然而，對於某一代史上特別重要或罕見的作品，（1969）。影片並非俄國電影發現是蘇聯電影《鄉村警探》館人員檢查、清潔及辨識後，米菲林拷貝。經冰島電影資料網捕魚時，意外尋獲四本海岸不遠處，從大西洋深海拖年夏，一架漁船在離冰島35毫MikhailZharov亦是一位對他Zharov的研究，重
鄉村警探之歌
更以屍體比喻菲林電影，腐朽之日不遠矣。體同時，意義上與「cadavre料、符號和圖像作黑房實驗，展示典緻的軀類型的色情或裸體主義電影，並以不同的物exquisite實主義的拼合式創作「cadavre毛骨悚然卻欣喜若狂。以此處通往海灘裸女的夢：感性、幽默，令人1920年代法國超現exquis（即corpus）」命名，剪輯不同年代、exquis」吻合；
之旅：126趟穿越時空此處通往一年前，盧米埃兄弟在南法臨海小城LaCiotat月台拍攝火車進站後，電影與火車的關係便密不可分。柴卡斯基透過人手拼貼和曝光，將火車片段化成一部場面磅礡的實驗「大片」，儼如另類動作特技，驚險刺激。一方面向歐洲前衛電影先鋒KurtKren致敬，亦再次探討菲林甚至是電影媒介的興盛與衰落。
All aboard! This is a journey through time: 126 years ago, the Lumière brothers filmed at a train platform in La Ciotat and brought into the world. Trains and cinema are inextricably connected since. Tscherkassky copies frame by frame by hand and uses multiple exposures, turning train footage into a thrilling ride of a spectacular ‘action blockbuster’. Paying homage to Kurt Kren the pioneering experimental filmmaker in Europe, Tscherkassky once again looks into the nature of analogue film as well as the growth and decline of cinema itself.
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又見火車 Train Again
With raw materials from several erotic and nudist films, Tscherkassky brings us to a dream of a nude sleeping beauty on the beach. Creation of sources from different origins coheres the spirit of 'cadavre exquis (exquisite corpus)', a writing and drawing technique of surrealists from Paris in the 1920s. According to Tscherkassky, the film title also represents analogue cinema: 'an exquisite corpus but stamped with an expiration date. The exact date remains unknown, but it is foreseeable.'
Tscherkassky is an Austrian avant-garde filmmaker whose works are mostly based on found footage and made in the darkroom by hand. He focuses on the materiality of film and has been experimenting in analogue filmmaking since 1979. His films have been honoured with numerous awards and been shown in major film festivals and exhibitions around the world.
奧地利 Austria｜2021｜黑白 B&W｜ 20 分鐘 min｜35mm｜無對白 No Dialogue
Peter彼德柴卡斯基Tscherkassky (1958-)
The Exquisite Corpus
典緻軀體
生於奧地利，1979 位電影研究者，曾出版多本關於電影藝術的著作。於世界各大影展及不同藝術空間展出。他同時是一素材，堅持以光學方式在菲林實物上創作，作品曾及對菲林媒介的探討，大部分作品均以現成聲影為中一位重要的前衛電影作者，聞名於黑房沖印實驗年開始實驗影像創作，是歐洲其
奧地利 Austria｜2015｜黑白 B&W｜ 分鐘 min｜35mm｜無對白 No Dialogue
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After studying History and Art History in Strasbourg, Hunzinger studied Cinema in Jussieu with Jean Douchet, Jean Rouch and Bernard Cuau. Since then he has made documentary films about history, war, traces of memory, man in the face of the unthinkable and nature. His films have been shown in numerous film festivals with awards.
15/10 ( 六 Sat) 19:20 BC 設映後談，粵語主講 Post-screening talk (in Cantonese) 同場放映《典緻軀體》及《又見火車》 Screening with TheExquisiteCorpus and TrainAgain 25
探視人如何面對自然和不可預知的物事。影。他的創作以歷史、戰爭和追溯記憶為主，亦Jean法國紀錄片導演，曾修讀歷史及藝術史，後與Rouch、JeanDouchet等導演一起讀電 羅賓亨茲格 Robin Hunzinger (1969-) 刻在心底的情書 Ultraviolette and the Blood-Spitters Gang 法國 France｜2021｜彩色及黑白 Colour, B&W｜ 74 分鐘 min｜DCP｜法語 French｜英文字幕 Eng subtitles 愛情。間，超越時間和歷史的記憶、感性富詩意的of衛影像，和EttingGermaine片段、9.5件內容為基礎，配以大量現成聲影，由檔案班「吐血幫」的遊樂場。本片以志同道合，療養院成了這孩進院，與她年紀相近又幾位同樣患肺病的年輕女「Ultraviolette」，不久人人都叫桀驁的她做都入進信封；在院內，其間將對因肺結核進了療養院，生活分隔異地。Marcelle愛在彼此心裏萌芽，卻因年代中，Emma大部分來自一位叫的遺物時，發現一些特意小心保存的信件，點亮事物。導演和母親在整理外婆紫外光不在可見光之內，卻以看不見的方式EmmaMarcelle的女孩。1920和Marcelle在學校相識，Emma的思念Marcelle信毫米家庭影像、到JeromeHill、Dulac、MayaDeren、Emlen和LaszloMoholy-Nagy等先鋒的前HerzfeldOrchestra、ASecondJune的音樂，建構Emma和Marcelle之
After the death of his grandmother Emma, Robin Hunzinger and his mother found a carefully preserved collection of letters which Emma received from a girl called Marcelle. Marcelle and Emma met in the mid-1920s. Secretly, love blossomed between the two teenage girls, but after two years they parted ways. Marcelle evocativeburnletterslettersshesanatorium,wastuberculosisdevelopedandadmittedtoawherewrotemanytoEmma,thatstillwithgreatpower.At the sanatorium, rebellious Marcelle, nicknamed ‘Ultraviolette’, led a group of three young women who were also sick. The film, told through Marcelle’s eloquent letters, combines archive footage, avant-garde films, and music to create a sensuous, poetic atmosphere of absolute love, a daring young woman ahead of her time and a group of kindred spirits which break the barrier of time.
Peet彼特格德布Gelderblom
荷蘭影視製作人，有超過
來表達故事。《他和她的事情》是他首部長片。過不同風格、氣氛、畫面構圖、戲劇效果和配樂文章，為他贏得不少獎項。擅於影像敘事，並透驗，作品包括電影、廣告、紀錄片、劇集和錄像年導演和剪接經
Forever Him and Forever Her, the two lovers are inseparable over 120 years and more, travelling through light and shadows, from being passionately in love to entangled in hate. Made of more than 100 films, this archival fiction is a mixture of reedited fragments of footage, many of which come from the ‘Bits & Pieces' Collection’ of the Eye Filmmuseum. The shots and scenes belonged to unidentified materials, including newsreels, animation, advertisements, experimental films and more. Among the precious compilation that spans a century’s moving images is Eadweard Muybridg’s The Horse in Motion, which dates back to 1878, and recent works like Skelehellavision (2002) by experimental filmmaker Martha Colburn. To best retain the footage in their original shapes and forms, the film shifts between aspect ratios according to their individual sources. Each frame is scanned and colour corrected digitally to restore the hand-painting, stencil coloring, tinting, toning and early Technicolor features.
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Gelderblom is an award winning director and editor from the Netherlands with over 25 years of experience in films, commercials, documentaries, drama, television, video essays and online content. He's a sharp visual storyteller and conceptual thinker. With his keen sense of style, mood, drama, musical timing and graphic eye for composition, Peet is an expert at giving audio-visual content the exact look and feel it needs.
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他和她的事情 When Forever Dies 荷蘭 Netherlands｜2020｜彩色及黑白 Colour, B&W｜ 109 分鐘 min｜DCP｜無對白 No Dialogue｜ 英文插入字幕、中文字幕 Eng intertitles & Chi subtitles 16/10 ( 日 Sun) 12:45 BC 設映前簡介 Pre-screening 同場放映《重重門。門對門》Screeningintroductionwith DoorsMedley 動畫、廣告、實驗電影等；遠至影片或殘本，涵蓋新聞片、系列，均為一些未能辨識博物館的「Bits大部分來自荷蘭電影的零碎片段剪輯而成，相和相隨。本片由過百部長久以來都是相形相傾，由浪漫戀愛到愛恨交纏，多年來穿梭於光影之間，永恆的他與她，一百二十EYE電影&Pieces」 1878 年 邁布里奇的《The Horse in Motion》，到 2002年藝術家 Martha Colburn 《Skelehellavision》，橫跨百年，彌足珍貴。的實驗作品為保留片段原貌，製作團隊以高畫質掃瞄每個畫格，除了使用原本的畫面比例，亦以數碼技術調色和校正，令手繪及模版上色、染色及調色、早期特藝彩色的影像回復本來的色彩。
It is a re-mix and extension of Lai’s two existing works Door Game (2005) and Door Games Window Frames (2012). The original sources are videos from 11 Cantonese melodrama released in the 1960s. They were turned into a large number of video fragments and reassembled. On the basis of dismantling the formula of 1950s-60s Cantonese film melodrama in the previous works, it further reveals the gender paradigms embedded in popular culture.
香港 Hong Kong｜2014｜黑白 B&W｜7 分鐘 min｜ 數碼 Digital｜少量粵語 Cantonese (in part)｜ 中、英文字幕 Chi & Eng subtitles
重重門。門對門。 Doors Medley
電影研究哲學博士，香港藝術發展局 覺文化博物館收藏。短片節競賽，及獲錄像局（北京、廣州）及實驗錄像回顧展；作品三度參展德國奧柏豪辛國際寫活力。曾於澳門、首爾及西班牙哥多華舉行個人俗志和敍事性，開啟現成影像和個人錄像日記的書術副教授。創作和學術研究環繞歷史書寫、視覺民藝術家（媒體藝術）」，城大創意媒體學院互媒藝2017「年度M+視
黎肖嫻 Linda
Lai (Ph.D, NYU Cinema Studies), Associate Professor (intermedia arts) at the City University of Hong Kong's School of Creative Media, is a scholar cum research-based interdisciplinary artist focusing on historiographic experiments which often involve found footage and video diaries. She had her solo retrospective at the Experimental Film/Video Festivals in Macau, Seoul and Cordoba, Spain. Her video works are archived by M+ and Video Bureau. She was awarded Hong Kong Arts Development Council's 'Artist of the Year 2017 – Media Art'. Lai Chiu-han (1957-)
現方面的看法。講者將討論各自對舊片衍用在創作、敘事實驗和性別呈 The speakers will discuss their works in respect of their perspectives on found footage filmmaking, narrative experiments and gender representations. 檔案片段與蒙太奇實驗 Archival Footage and Montage Experiments 日期及時間 Date & Time： 16.10.2022（日 Sun）20:00 Zoom 視像會談 Via Zoom online meeting 講者 英語主講In彼特格德布Peet黎肖嫻Speakers：LindaLai、GelderblomEnglish 網上講座 Online Talk 報名Registration 27
別範式。基礎上，本片進一步揭示流行文化中的性前作拆解五、六十年代粵語片戲劇公式的零碎片段再組合，在素材，將其化為大量空小說的電影錄像為11的延伸和整合，以框戲門》（2012）門》（2005）及《景部舊片衍用作品《戲本片是黎肖嫻另外兩部改編自李我天
本專題策劃及撰文
劉嶔
華語電影珍藏與修復再現．重構—— Rediscover and andChinese-languageRestructure:LostGemsRestoredClassics 本屆「再現．重構——華語電影珍藏與修復」專題在2020年首屆的基礎上繼續拓展，建立香港視點，縱觀華語電影史。專題具有三部分，即「神女三生」、「修史時刻」、「新電影前夕」，冀為本地電影觀眾和研究者、年輕電影工作者及學生，展映各地電影資料館的華語電影珍藏及修復成果，通過銀幕上的聲影，銀幕下的討論，培養本地人士對於廣闊長久的華語電影歷史的認識，以及促進各地華語電影遺產的保育和交流工作。香港電影數十年的成就，來自幾代影人的奮鬥，而香港影人的貢獻不侷限於香港。二十年代香港影人如黎民偉家族、薛覺先往上海追求銀光夢，三十年代中後期有盧敦、陳雲裳、李綺年等，同時因為侵華戰爭影響，以及粵語有聲電影起步，不少上海影人來港，粵語片的開拓功臣實包括許多不諳粵語的南來者。另有嘗試以安穩的香港分擔上海的風險，在此地拍製國語片，供應內地市場。專題第一部分「神女三生」選映的《胭脂淚》（1938）和《雲 豐盈的紀實影像引領我們巡視台北各種空景瑞的仿紀錄片《台北之晨》（1964），妻兒家居、風土人情。接力者是名導演白其感慨思慮，但主角始終是最貼近鏡頭的錄。我們明瞭當中時代天地的大背景，為動，城市街拍，是現存罕見的平民觀點紀南光三十年代拍攝的8毫米影片，家人活水導演作品，彌足珍貴。台灣攝影巨匠鄧一部分。《獅子城》（1960）是僅存的易故事，理念可視作馬來亞文化意識建設的電影」，由本地人用華人語言創作自己的馬影人易水於是努力提倡「馬來亞化華語香港，故事也未能反映當地人的處境。星場，國粵語片常往取景，但幕前幕後來自五、六十年代東南亞作為香港影業主要市響巨大的港產片。間建立香港國語片，再與粵語片融匯為影文化和開放靈活的本地環境交集，三十年題旨帶上海遺風而寄語新開端。上海電影大師朱石麟執導的《第三代》（1948），印記。戰後大量電影及話劇工作者遷港，裳仙子》（1939），便是這股對流的重要 28
Curated and written by Lau Yam
的都市愛情喜劇，乍看與他的名作大相逕均是成功糅和新一代生活思想及娛樂趣味她》（1981）和《風兒踢踏踩》（1982），感性。侯孝賢首兩部執導作《就是溜溜的自由的形式延續倫理，而散發輕快的時代人倫信念，但敢於挑戰既定規範，以新穎拍出《早安台北》（1979），核心仍是篤守入自然清新的氣息。享譽已久的李行導演破，出現新奇片種，或延用傳統類型，注史的碎片。七十年代末台灣電影尋求突屆以「新電影前夕」部分繼續組織電影歷灣青年影人超越主流影業文化的實踐，今品，重認「台灣新電影」前約二十年，台2020史時刻的歷史，以上三片構成專題第二部分「修市。一幅幅家族和社羣的活動影像——人間作息，塑造自信的人羣和忙碌向前的城」。年度影展展映牟敦芾和邱剛健的作 影匯聚交集的繁美。中有香港電影獨一恆久的光芒，與其他電帶，理解華語電影的歷史格局和成就，其綜脈絡，我們可從這些跨越地域時代的紐富多元的場域。追溯華語電影史，梳理錯香港電影的歷程和經驗並不單一，而是豐意。和觀點，且始終堅守人與人之間的溫暖敬的社會層面，以情理兼備的態度展示現象文化及家庭倫理。這些熱議話題置於廣闊子學校》（1982）則觸及女性情誼、情性婚姻困局和未婚媽媽個案，今次選片《女發掘時代女性處境，題材有職業女性的李美彌導演專心用文藝寫實的中庸格調，啟「新電影」和侯氏作品的風格。同輩的鄉村穿插，無定向戀人關係，明明正在開庭，再仔細觀察，大量遠景鏡頭，台北和 《胭脂淚》RougeTears (1938) 29
new chapter at the same time. Shanghai’s film culture intersects with the open and flexible local environment, leading to the establishment of Hong Kong’s Mandarin films, which then integrated with Cantonese films to form the influential Hong Kong cinema.
Shot in the 1930s, Taiwanese photography maestro Deng Nan-guang’s 8mm films are rare records of family activities and street shots from a civilian’s perspective. We could worry
Since Southeast Asia was a key market for Hong Kong film industry in the 1950s and 1960s, Mandarin and Cantonese films were often shot there with cast and crew from Hong Kong, yet the stories were unable to reflect the situation of different ethnic groups there. Hence, Singapore-Malyasian filmmaker Yi Sui advocated for the ‘Malayanisation of Chinese-language Cinema’—stories told by locals in various Chinese languages that were seen as part of the efforts on building Malayan cultural awareness. The Lion City (1960) is the only film by Yi that still exists today, regarded as a precious record of his artistic achievement and cultural vision.
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This year’s ‘Rediscover and Restructure: Chinese-language Lost Gems and Restored Classics’ programme continues to expand on the foundation set by the 2020 programme by establishing a Hong Kong perspective as we take a broad view of Chinese-language film history. This section has three parts— ‘Thrice the Goddess’, ‘History Hour’, and ‘Prelude to New Cinema’ that will showcase Chinese-language gems and restored films from various film archives for local audiences, researchers, young filmmakers and students.
Hong Kong cinema’s decades of achievement are the results of hard work by several generations of filmmakers. However, Hong Kong filmmakers’ contributions are not limited to Hong Kong. In the 1920s, the Lai Man-wai clan and Sit Kok-sin chased their celluloid dreams in Shanghai. Then in the mid and late 30s, the likes of Lo Duen, Nancy Chan, and Lee Yi-nin had their go in Shanghai. Meanwhile, due to the War of Resistance against Japanese Aggression and the development of Cantonese sound film, quite a few Shanghainese came to Hong Kong and became trailblazers for Cantonese film despite their lack of command of the language. Besides, by taking advantage of Hong Kong’s stability over risks in Shanghai, some filmmakers made Mandarin films in Hong Kong to supply the Mainland market. For example, Rouge Tears (1938) and The Angel (1939) of the first part ‘Thrice the Goddess’ are results of these two opposing currents. After the war, a lot of professionals in film and drama relocated to Hong Kong. The masterful Zhu Shilin directed The Third Generation (1948) that carried the legacy of Shanghai while starting a
《女子學校》Girls’School（1982） 31
There is no one path or experience that can encapsulate the rich and diverse field that is Hong Kong cinema. By tracing the history of Chinese-language films and sorting out the intricate contexts, we can understand the historical pattern and achievements of Chineselanguage films from these ties that spanned across regions and eras. Among them are the unique and lasting brilliance of Hong Kong cinema and the beauty in its interaction with other films.
for them because we understand the historical background of the era, yet the protagonist is closely filming his family life and local practices. Then there’s also Pai Ching-jui’s documentary essay A Morning in Taipei (1964), featuring an abundance of documentary footage that takes us to a tour of the many spaces in Taipei. It illustrates a confident crowd and a bustling city with images of families and communities that are part of human history. Together, these three films form the second part ‘History Hour’. We featured the works of Mou Tun-fei and Chiu Kang-chien in our 2020 programme as a way to reconnect with the twenty years before New Taiwanese Cinema when young filmmakers surpassed the practice of the mainstream film industry. This year’s 'Prelude to New Cinema' continues to piece together the fragments of film history. In the late 70s, Taiwanese cinema was looking for breakthroughs, resulting in innovative genres, or an injection of fresh ideas into traditional genres. Long-time celebrated director Lee Hsing made Good Morning,Taipei (1979), which at its
core is still adhering to morality. But it dares to challenge the established norms and continues its exploration of moral topics with refreshing ways while exuding the light sensibility of the times. Hou Hsiao-hsien’s first two directorial features, Lovable You (1981) and Cheerful Wind (1982), had successfully combined the new generation’s way of thinking and urban romantic comedy. At first glance, these early films seem to be quite different from his later acclaimed works. But under close inspection, the large number of long shots, the back-andforth between Taipei and the countryside, and the directionless love affairs are obviously the start of ‘New Cinema’ and Hou’s signature style. His peer Lee Mi-mi focused on using the middlebrow sensibilities to explore the situation of contemporary women that included topics such as marital strife of professional women and cases of single motherhood. Our selection Girls’ School (1982) touches on topics like homosexuality, sex culture, and family. The film brings up these hot topics in a broad social level, showing various viewpoints with a rational and compassionate attitude, and always sticking to the warm respects of human relations.
These three rare films by three Mandarin cinema masters are all related to Hong Kong. Rouge Tears (1938)—Wu Yonggang’s remake of his own classic film The Goddess (1934)—was shot in the peaceful pre-war Hong Kong. Refashioning silent cinema into sound film has added entertainment appeal yet sound and silent do not invalidate each other since the latter maintains the spirit of the original silent film. In the same era, Hong Kong’s Cantonese actors had also tried their luck in Shanghai. Nancy Chan was considered the most successful example. In The Angel (1939), she sings and dances skilfully while her ability to handle both comedy and tragedy in the role of a modern woman is stunning. This is also one of the best work in director Griffin Yue Feng’s early career and a record of the development of Chinese musical films. The Goddess’s strong influence can likely be seen in Zhu Shilin’s post-war Hong Kong film The Third Generation (1948), which feels like adding prequel and sequel to the silent classic. Unlike the purely artistic direction of the original, Zhu boldly criticises the new thought at the time while reflecting on the old beliefs and the hopes of the nation’s future generations.
GoddesstheThrice
（1939）中能歌善舞、悲裳最為成功，《雲裳仙子》影人亦往上海闖蕩，陳雲有聲片中續造默片神韻。同時期，本港粵籍除考慮新娛樂元素，有聲無聲並不相斥，在洋戰爭前偏安的香港。將默片拍為有聲片，其經典《神女》（1934），拍攝地點轉來太平港有關。《胭脂淚》（1938）——吳永剛再拍三位國語電影大師的三部罕見作品，都與香喜劇俱良的摩登女郎絕對叫人驚艷，並是導演岳楓早期優秀成就和華語歌舞片發展的紀錄。《神女》影響甚大，朱石麟戰後在港執導《第三代》（1948），便像補寫前事、改寫當下。異於原作的純藝術傾向，他敢於批評新思潮，亦自省舊信仰，對國族的未來主人翁賦予寄望。 第44頁設網上講座，講者羅卡、劉嶔，詳情請參閱
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Online talk by Law Kar and Lau Yam. See details on P.44
編導 Dir & Scr 吳永剛 Wu Yonggang
心》（（卜萬蒼導演，1931）和美國片《慈母《神女》，後半部參考《戀愛與義務》再度飾演兒子和流氓。前半部劇情依循阮玲玉齊名的胡蝶主演，黎鏗、章志直這部《神女》（1934）有聲重拍版由與StellaDallas，1937），增補神女出獄後的故事。分別多年，卻要躑躅於是否與兒子相會，新版給予母愛更大挑戰，進一步完成神女的宿命。人物用對白表達苦難及交流，加強了戲劇矛盾，亦比舊作通俗明露。胡蝶自有一份風情，從中年演到老年，哀愁、自卑至毅然，更接近普通人氣息。吳永剛順應有聲片的要求，也未忘前作的追求，不時重演那些永恆的默片時刻，產生兩個時代藝術並置的特別效果。
香港 Hong Kong、上海 Shanghai｜1938｜
演員Cast 胡蝶 Hu Die (aka Butterfly Wu)、 黎鏗 Henry Lai Hang、 章志直 Zhang Zhizhi、 王次龍 Wang Chilung、 梅熹 Mei Xi、談瑛 Tan Ying )
國語 Mandarin｜中文字幕 Chi subtitles
攝影 DP 黃紹芬 Wang Shaofen、 黃瑾 Huang Jin
22/10 ( 六 Sat
13:25 BC 設映前簡介 Pre-screening introduction 吳永剛 Wu Yonggang（1907-1982） 《碧玉簪》（1962）、電影美工師出身，早年編導作品《神女》和《浪淘沙》（1936）精純超然，富於哲理意識。六十年代戲曲藝術片《尤三姐》（1963）探索戲曲電影美學，成就不凡。1980年和吳貽弓合導的《巴山夜雨》是反思集體經驗的深沉傑作。Startedoutasasetdesigner,WuYonggangdirectedTheGoddessandTheDesertIsland(1936),whichareknownfortheirpurityandphilosophicalawareness,earlyinhiscareer.Inthe1960s,successfulfilmssuchasTheJadeHairpin(1962)andThirdSisterYao(1963)exploretheaestheticsofChineseOperacinema.In1980,heco-directedEveningRainwithWuYigong—aprofoundmasterpiecethatreflectsoncollectiveexperience. 33
胭脂淚 Rouge Tears
黑白 B&W｜114 分鐘 min｜DCP｜
This sound film remake of The Goddess (1934) was headlined by Hu Die, who found stardom at the same time as Ruan Lingyu. Henry Lai Hang and Zhang Zhizhi reprised their roles from the earlier film. The first half of the story follows The Goddness but the second half references Bu Wanchang’s Love and Duty (1931) and King Vidor’s American film Stella Dallas (1937) with additional plots of the heroine’s post-prison story. After years of separation, she hesitates whether to reunite with her son. This new version poses a bigger challenge to a mother’s love and pushes towards the completion of her fate. The characters use dialogue to express their pain and connection, which strengthens the dramatic dilemma and makes the film more straightforward than its predecessor. Hu Die possesses a sort of allure that shows the sadness, shame, and will of a common woman from middle age to old age. Wu Yonggang complies to the demands of sound film without forgetting his pursuit in the previous work by restaging those enduring moments of the silent film, producing a unique effect by juxtaposing the arts from two different eras.
脆弱和藝術的穿透力。化作為改良進步象徵，結局並展示人的倫理、娛樂和社會批判，女性意識的變現實困境和感情世界的通俗文藝，結合是賞心悅目。是成功反映三十年代中國情調，甜美跳脫的陳雲裳出沒其中，確調度優美而富動感。滬上繁華乘以南洋片，製作精巧氣派，鏡頭與歌舞相融，導，1933）的翻拍，學習荷里活歌舞病垂危。默片《母性之光》（卜萬蒼編父母相守，可復出舞台之日，幼女竟重殘酷不忠終令她反省，離婚返滬，與親名利浮華，後遠嫁南洋富家子。丈夫的後父安排下成為明星，沉溺於娛樂界的裳飾演能歌善舞、不諳世道的少女，在早期中國歌舞片寥寥存世的瑰寶。陳雲
This is one of the rare gems in early Chinese musical films that still exists today. Nancy Chan plays a naïve young woman who can sing and dance. Under the arrangement of her stepfather, she becomes a star and indulges in the glitz and glamour of the entertainment world before getting married to a wealthy heir in Nanyang. Yet her husband is cruel and unfaithful, leading her to divorce and return to her parents in Shanghai. While she is set for a comeback to the stage, her young daughter suffers from a serious illness. A remake of the Bu Wanchang’s silent film The Light of Maternal Instinct (1933), this stylish production takes cues from Hollywood musicals, resulting in an elegant and lively fusion of camera movement and musical numbers. Watching the sweet and perky Nancy Chan in bustling Shanghai and moody Nanyang is a true delight. The film also successfully reflects the harsh reality of China in the 1930s and the pathos of popular literature by combining morals, entertainment and social commentary to show that changes in the idea of femininity is a symbol of progress. The ending illustrates the frailty of humans and the penetrating power of art.
編導 Dir & Scr 岳楓 Griffin Yue Feng 攝影 DP 黃紹芬 Wang Shaofen 演員 Cast 陳雲裳 Nancy Chan、 王引 Wang Yin、 陸露明 Lu Luming、 徐莘園 Xu Shenyuan、 孫敏 Sun Min、白虹 Bai Hong
雲裳仙子 The Angel
21/10 ( 五 Fri ) 19:15 BC 設映前簡介 Pre-screening Post-screening設映後談，講者劉嶔，粵語主講introductiontalkbyLauYam(inCantonese) 岳楓 Griffin Yue Feng（1909-1999） 《蕩婦心》（1949）、《血染海棠紅》（1949）、《金蓮花》（1957）、《情場如戰場》（1957）等。成名於三十年代初，長城、電懋、邵氏等大片廠的重要貢獻者，作品題材多樣，風格雄渾細膩兼容。名作包括GriffinYueFengmadehisnameintheearly1930s.HewasanimportantcontributoratbigstudiossuchasGreatWall,Cathay,andShawBrothers.Histhemesarediversewhilehisstyleisbothvigorousanddelicate.HisrenownedfilmsincludeAForgottenWoman(1949),BloodWillTell(1949),GoldenLotus(1957),andTheBattleofLove(1957),amongothers. 34
上海 Shanghai｜1939｜黑白 B&W｜ 104 分鐘 min｜DCP｜國語 Mandarin｜ 中文字幕 Chi subtitles
第三代 The Third Generation 香港 Hong Kong｜1948｜黑白 B&W｜ 89 分鐘min｜數碼 Digital｜國語 Mandarin｜ 中文字幕 Chi subtitles 編導 Dir & Scr 朱石麟 Zhu Shilin 攝影 DP 阮曾三 Yuen Changsam 演員 Cast 王熙春 Wang
The Goddess (1934) is remade once again. In this version, Zhu Shilin tackles the anxiety concerning the clash of 20th century Chinese traditions and modern Western culture. Despite her father’s strict discipline, Fun still manages to have a boyfriend secretly and give birth to twins. After leaving her son to her father, she takes off with her daughter. Twenty years later, Fun has become a streetwalker. The three generations finally come face-to-face at the police station. Her father laments that his generation should be ousted while Fun’s generation has been sacrificed, leaving the future for the next generation to establish. Zhu carefully depicts the shame of selling one’s body without passing judgment while he finds balance and reflects on the pain in the age of progress. Even though the production was far from lavish, Zhu’s astute handling of the narrative and mise-en-scène makes this a vivid and exciting film to watch. Xichun、 Jiang Ming、 Yelu、陳琦 Bo、岑範
Chen Qi、 洪波 Hong
姜明
顧也魯 Gu
情節和調度剪接，依然生動精彩。尋平衡。製作並不寬裕，但拿手的錯摸判，在吹捧進步的時潮中痛定思痛、找現代普世價值的迷惑，他亦決絕地批德失貞的羞恥委屈有盡致的描繪，某些年輕一代努力建設。朱石麟對身體或道應該淘汰，芬一代已被犧牲，未來要靠認。最終三代人相會，父嘆言他的一代年後，芬已淪為流鶯，母子相逢但未相胎後，託子予父，攜女遠走他鄉。二十從四德，女兒芬仍偷交男友，誕下龍鳳與現代西化碰撞的憂思。父親雖嚴教三朱石麟貫徹關於二十世紀中國經歷傳統《神女》（1934）原型的又一次改拍，
Cen Fan 22/10 ( 六 Sat ) 15:40 BC 設映前簡介 Pre-screening introduction 朱石麟 Zhu Shilin（1899-1967） EternalAfter姑娘》（1951）、《同命鴛鴦》（1960）等，創立左派陣地鳳凰影業公司。在上海執導《國風》（1935）、《慈母曲》（1937）等傑作，抗戰勝利後來港，名片有《清宮秘史》（1948）、《花directingfilmssuchasNationalCustoms(1935)andSongofaKindMother(1937)inShanghai,ZhuShilinmovedtoHongKongafterthevictoryoftheWarofResistanceagainstJapaneseAggression.Inthenexttwodecades,hemadeSorrowsoftheForbiddenCity(1948),Flora(akaTheFlowerGirl,1951),TheLove(1960),amongothergenreclassicsanddeeplypersonalworks.Healsofoundedthepro-leftistFengHuang(Phoenix)MotionPictureCo. 35
Finally, A Morning in Taipei (1964) affirms the urbanisation of Taipei by composing a visual cadence for its movements. The realist rearrangement of a large number of ordinary people and social activities burst with vigorous artistry.
HistoryHour 36
剪接，迸發強烈的藝術美感。通人和社會活動的寫實主義面貌，經精心都市化，為其運作譜出影像韻律，大量普1964處的大歷史無法掩蓋。而私人印象，自成天地，所俗儀式、遊玩飲食。這些下父母呵護之情，兼及風影，聚焦小兒女面貌，記邊廂，鄧南光的家庭電凡瑣細的生活片段，另一大複雜題目，亦可以是平體的電影歷史。歷史是宏作背景也是開拓自己為主參與了家國建造，影片製期，人民在文藝通俗劇中后的愛情襯托國家的妊娠塊指示牌，以工廠少爺皇子城》如這條大路上的一碑，1960反帝、爭取獨立的里程年建國，樹立亞洲反殖華人居多的新加坡三部作品都在撰寫歷史。1965年公映的《獅年的《台北之晨》樂觀肯定台北的
The three films in this part are related to history. Singapore, a country with an ethnic Chinese majority, was established in 1965, which marks an important milestone for anticolonialism / imperialism for Asian regions seeking independence. 1960’s The Lion City tells the love story of a business heir and a factory girl against the backdrop of the nation’s gestation period, demonstrating how the people could participate in the nation-building through melodrama. History is a vast and complicated subject, but it can also be ordinary slices of life.
Taiwanese photographer Deng Nan-guang’s home movies focus on the faces of his young children, and documents the local customs and personal impressions from his own perspective. These personal impressions are self-contained yet it is hard to conceal the historical background of these everyday images.
Deng Nan-guang is an important Taiwanese photographer. This screening features his 8mm film works, which are mostly heartwarming images of his family at home and on outings during the Japanese occupation. The scenes include a swimming contest, the zoo, temple tour, among other sights. It is a record of Taiwan’s local culture at the time. The last film was shot by his son Deng Shi-guang in the 1960s. Isn't it the sadness and beauty of the passage of time when the three generations played in front of the camera? The music score is composed by local musician Bunn Lau for this screening.
16/10 ( 日 Sun ) 17:05 BC 設映前簡介 Pre-screening introduction Screening同場放映《早安台北》withGoodMorning,Taipei Nan-guang（1907-1971）
選輯台灣著名攝影家鄧南光的 8 音樂人劉子斌創作配樂。是時光流逝的哀與美嗎？此次放映邀得本地世光六十年代拍攝，鏡頭中三代人嬉玩不正敘事又可對照。短片集裏最後一部是其子鄧的格調，與同場放映的《早安台北》的嚴謹遊廟會等，記錄了台灣的風土民情，不經意歷及心況。場景涵蓋游泳比賽、動物園、巡故事要說，父母的面容也叫人想像他們的經現，每部片都有一點長大，那股生命力自有洋溢親和的生活氣息。一個又一個孩子出多是三十年代家人在家和出外遊歷的留影，毫米短片，
thewheninpassionateHsinchuOriginally開啟台灣寫實主義攝影的道路。影。三、四十年代是創作巔峰期，鏡頭下的人和城市農村面貌本名鄧騰輝，生於台灣新竹北埔，在日本留學時開始熱愛攝namedDengTeng-hui,hewasborninBeipu,CountyinTaiwan.HestartedtobecomeaboutphotographywhilestudyingabroadJapan.The1930sand40swerethepeakofhiscareer,hisphotosofpeopleinthecityandruralareaspathwayforrealisminTaiwanesephotography. 劉子斌 Bunn Lau organisationsliveLocal作、創作及演奏現場音樂。奏。自音樂工作者，能演奏多種樂器及擅長即興演2006年起參與不同劇團及藝團的製musiciancreatingandperformingmusicfortheatricaltroupesandartssince2006. 鄧南光之風景寫真—台北篇 Collections:DengTheOrdinaryScenes,Nan-guang'sTaipeiImage 台灣 Taiwan｜1930 年代及 1966｜黑白 B&W｜ 35 分鐘 min｜DCP｜默片配樂 Silent with score 攝影 鄧南光CinematographerDengNan-guang 37
鄧南光 Deng
修復版
The Lion City Restored Version
獅子城
此修復版掃瞄自香港電影資料館的 35 毫米拷貝孤本。
1959 馬人士對國家未來的期盼。甲海峽，經印度洋走向世界，無疑是許多星的角色活潑朝氣，擁抱獅子城，想像從馬六地大異其趣。年輕演員叫人耳目一新，他們社會現象也收入，與港製星馬元素電影的離愉悅閒適，時代細節撲面而來，議院選舉與出普通人工作生活的變遷及思緒。社區氛圍語言的社會，不時跳出粵語，從細微處描繪和少東的跨階級愛情出發，展現多族羣、多應星馬的現實成果和理想建構。從工廠女工國殖民統治。在此背景鼓勵下製作，影片呼任總理。新政府爭取星馬合併獨立，擺脫英法議院選舉成為第一大黨，領導者李光耀出年新加坡自治邦成立，人民行動黨在立
The restoration was scanned from a sole surviving 35mm print loaned from the Hong Kong Film Archive.
新加坡 Singapore｜1960｜黑白 B&W｜ 120 分鐘 min｜DCP｜華語 Mandarin｜ 中、英文字幕 Chi & Eng subtitles 編導 Dir & Scr 易水 Yi Sui 攝影 DP 徐焦明 Hsu Chiao Meng 演員 Cast 胡姬 Orchid Wong、潘恩 Pan An、 張平 Zhang Ping、 潘肖鳳 Pan Xiao Feng、謝冰 Xie Bin 20/10 ( 四 Thu ) 19:05 BC 設映前簡介 Pre-screening Post-screening設映後談，講者劉嶔，粵語主講introductiontalkbyLauYam(inCantonese） 易水 Yi Sui（1914-1973） directedatBorn城》、《黑金》（1963）數片。生於馬來亞霹靂州，早年當記者，五十年代於國泰機構廣告發行部任職。提倡「馬來亞化華語電影」，導演《獅子inPerak,Malay,YiSuiwasajournalistinhisearlyyearsandthenworkedinthedistributiondepartmenttheCathayOrganisationinthe1950s.Heproposedthe'MalayanisationofChinese-languageCinema'andseveralfilms,includingTheLionCityandBlackGold(1963).SupportedbyandcourtesyofAsianFilmArchive.Courtesyof©Cathay-KerisFilmsPte.Ltd. 38
Singapore achieved self-governance in 1959 when the People’s Action Party (PAP) became the majority in the Legislative Assembly election as party leader Lee Kuan Yew became Prime Minister. The new government campaigned for the merger of Singapore and the Federation of Malaya to gain independence from the colonial rule of the British government. Encouraged by this historical backdrop, this film echoes the real achievement and ideal establishment of then-Singapore. With the cross-class love story of a factory girl and the young boss, the film demonstrates a society with ethnic and linguistic diversity while depicting the life changes and thoughts of ordinary people in a pleasant society. The election and social phenomenon are also detailed in the film, which is quite a departure from the out-of-touch Hong Kong films with Singapore-Malaysian elements. The young actors are refreshing and full of vigour. They embrace the Lion City, imagine how they go from the Malacca Strait to the world via the Indian Ocean, which is the expectation of many citizens have for their nation.
台北之晨（林強配樂版）(NewAMorninginTaipeiScorebyLimGiong) 39
This is the director’s first film after he returned from his studies in Italy. The film illustrates the life forms in Taipei from dawn till noon, in the same vein as the semi-documentary style of Berlin: Symphony of a Great City (1927). Dawn breaks, early religion class begins, school guards rehearse, seamstresses clocks in, and offices begin to come to live…. The use of cinematography and editing is rich and powerful, incorporating both the lives of civilians and views of construction. The film did not have sound at the time and was put away for years. Lim Giong created electronic sounds to reinterpret the dream of a fledgling East Asian city.
台灣 Taiwan｜1964｜黑白 B&W｜20 分鐘 min｜
DCP｜默片配樂 Silent with score
City城市交響曲》（現至日正當中的台北生命體，採取《柏林：導演從意大利學成歸後首作，描繪從晨曦初Berlin:SymphonyofaGreat，1927）的仿紀錄片形式。黑夜被晨光衝破，宗教早課，名校儀仗隊排練，紡織女工打卡，辦公室開始熱鬧……。用鏡剪接流麗有力，兼容平民百態和建設景觀。當時未配聲效並封存多年，林強現輔以電子聲響，重新詮釋一個東亞城市冒起的夢想。
林強 Lim Giong（1964-）
directorsandhasNewAcclaimed的多部電影配樂。員、配樂、多媒體藝術等領域。曾為侯孝賢、賈樟柯等台灣知名音樂人，創作新台語歌和電子音樂，涉足演TaiwanesemusicianLimGiongproducesTaiwaneseSongsandelectronicmusic.Healsoexperienceinacting,soundtrackcomposition,multimediaart.HescoredmultiplefilmsbysuchasHouHsiao-hsienandJiaZhangke.
23/10 ( 日 Sun ) 13:00 BC 設映前簡介 Pre-screening 同場放映《風兒踢踏踩》Screeningintroductionwith Cheerful Wind 白景瑞 Pai Ching-jui（1931-1997） CurtainclassicsromanticwithMotionfilmmakingBorn經典。1999年代多拍文藝愛情，包括《一簾幽夢》（1976）等影公司，以《寂寞的十七歲》（1968）成名，七十出生於遼寧營口，在意大利學習電影製作後，入中年獲金馬獎終身成就紀念獎。inYingkou,Liaoning,PaiChing-juilearnedinItalybeforejoiningCentralPictureCorporation.HemadehisnameLonelySeventeen(1968)andshotmostlymelodramasinthe1970s,includingsuchasFantasiesBehindthePearly(1976).HewashonouredwiththeLifetimeAchievementAwardatGoldenHorseAwardsposthumouslyin1999.
導演 Dir 白景瑞 Pai Ching-jui
These three recently restored or rediscovered Taiwanese films allow us to see how then-young and middle-aged filmmakers have explored new styles before the formation of New Taiwanese Cinema. Lee Hsing, who represented an older generation, was already implementing changes when he directed 1979’s Good Morning, Taipei. The lives of young people are unstable yet they have dreams as they gradually comprehend their true feelings with a nonchalant attitude. In Hou Hsiao-hsien’s Cheerful Wind (1982),
新电影前夕 CinemaNewtoPrelude 40
Penghu’s sound of wind and smell of sea water rush in as soon as the film begins. The singers and actors inhabit the real and expansive location, embodying the authentic feeling of romance. Girls’ School (1982) depicts an enchanting campus with the blissful energy of school girls yet it touches on contemporary social issues such as sexuality, single-parent family, youth psychology, and public opinion. These three films witness the burgeoning of realism in entertainmentoriented genres with the condition and value of people gradually becoming the focus of the drama.
人的狀態和價值漸成為戲劇重心。片可見寫實主義的枝葉於娛樂類型中生長，論壓力，均是現代社會的熱門議題。從三觸及性傾向、單親家庭、年輕人心理及輿美麗夢幻的校園、女學生的快樂活力，但人的真實感受。《女子學校》（1982）有着活動於真實廣闊的場景，而愛情正是忠於風聲與海水味便撲面而來，片中歌星演員的《風兒踢踏踩》（1982），一開場澎湖的漸領悟的心靈，別具實感及情懷。侯孝賢穩定卻有夢的日子，漫不經心的態度和逐安台北》已開始創造變化，年輕人過着不風格。上一輩的李行導演於1979年的《早台灣中青代電影人一直在摸索新讓我們看到，「新電影」構成前三部近年修復或重現的作品再次 第44頁設網上講座，講者家明、劉嶔，詳情請參閱
Online talk by Ka Ming and Lau Yam. See details on P.44
導演 Dir 李行 Lee Hsing
Good Morning, Taipei
早安台北
台灣 Taiwan｜1979｜彩色 Colour｜
謹以本次放映紀念李行導演去世一周年。影。1980此行進一個創作新階段，呼喚後面的新電好，青春與永恆，形成中庸之道。李行因念，謙虛平視，終在年輕人的心靈找到美理解。李行自我考驗向來奉守的儒家理模糊蛻變的意識，均誠實地描繪，親切地在商業都市實現理想的細節，在感情世界繹年輕人的人生歷練和宏大莫測的世情。門檻前並不退縮，採用侯孝賢的劇本，演年代起攀越多個電影高峰，在八十年代的走出時代的不規則步調。巨匠李行自六十託鍾照顧女友林，他們和其他年輕人交集學當起創作歌手，死黨江明拚命賺錢，常音中，鍾鎮濤騙嚴父郎雄去上課，實際退又一個台北之晨，在林鳳嬌悅耳的電台播年金馬獎最佳劇情片。
編劇 Scr 侯孝賢 Hou Hsiao-hsien
This screening commemorates the one-year anniversary of director Lee Hsing’s passing.
Another morning in Taipei, Bee listens Joan Lin Fengjiao’s radio broadcast as he pretends to go to school without letting his strict father know that he has quitted school to become a singer-songwriter. His best friend Chiang Ming works many jobs to make a living. Like other young people, they march to the beat of their own drum. Master filmmaker Lee Hsing had reached many heights since the 1960s and still would not back down even as the 80s came knocking. Based on a script written by Hou Hsiao-hsien, the film illustrates the life experiences of young people as they work hard to realise their dreams in the commercialised city. Their vague and uncontrollable feelings are depicted with honesty and affection. Lee, who had long adhered to Confucian philosophy, challenged himself to humbly seek the goodness in the hearts of the youth. Between youth and eternity, Lee found his 'middle way' and walked towards a new phase of his career—calling for the New Taiwanese Cinema to come. This film is the winner of Golden Horse Awards’ Best Feature Film in 1980.
106 分鐘 min｜DCP｜國語 Mandarin｜
演員 Cast 林鳳嬌 Joan Lin Feng-jiao、 鍾鎮濤 Kenny Bee、江明 Chiang Ming、 郎雄Lung Sihung、歐弟Ou Di、 李烈 Lee Lieh
中文字幕 Chi subtitles
攝影 DP 陳坤厚 Chen Kun-hou
16/10 ( 日 Sun ) 17:05 BC 設映前簡介 Pre-screening Screening同場放映《鄧南光之風景寫真——台北篇》introductionwithTheOrdinaryScenes,DengNan-guang'sCollections:TaipeiImage 李行 Lee Hsing（1930-2021） atvaluedHealthywasBorn特別獎。倫理感思、瓊瑤改編，都拍出經典佳作，整體作品締造情理端正、自強不息的儒者風格。1995年獲金馬獎終身成就生於上海，創作始自五十年代末的台語片。《街頭巷尾》（1963）為健康寫實路線之濫觴，無論本土喜劇、健康寫實、inShanghai,LeeHsingstartedtomakeTaiwanese-languagefilmsinthelate1950s.OurNeighbor(1963)theoriginofTaiwan's'HealthyRealism'.Leehadtheabilitytomakeclassicsoutoflocalcomedies,Realistfilms,familydramas,andChiungYaoadaptations.HisoeuvrebuiltaConfucianstylethatprudentsensibilitiesandself-improvement.HewastherecipientoftheLifetimeAchievementAwardGoldenHorseAwardsin1995. 41
Colour｜92 分鐘 min｜ 中、英文字幕DCP｜國語Mandarin｜Chi&Engsubtitles
攝影
修復版 Restored
San三叔公（周萬生）Shu-kong(Chou Wan-sheng)、 石英 Shih Ying、吳玲 Wu Ling 23/10 ( 日 Sun ) 13:00 BC 設映前簡介 Pre-screening introduction 同場放映《台北之晨》 Screening with AMorninginTaipei 侯孝賢 Hou Hsiao-hsien（1947-） 生於廣東梅縣，1973 「悲情三部曲」使其揚名國際。2020年加入電影界。《兒子的大玩偶》（1983）、《風櫃來的人》（1983）等是台灣新電影奠基作品，年獲金馬獎終身成就獎。BorninMeixian,Guangdong,HouHsiao-hsienenteredthefilmindustryin1973.HisTheSandwichMan(1983)andTheBoysfromFengkuei(1983)arefoundationalworksofNewTaiwaneseCinema.'TaiwanTrilogy'madehimworldfamous.HereceivedtheLifetimeAchievementAwardatGoldenHorseAwardsin2020. 42
2018 年台灣電影數位修復計劃。影像掃瞄自 35 毫米 彩色原底片，聲音來自 35 毫米拷貝。
台灣
Taiwan Cinema Digital Restoration 2018. The image was scanned from the 35mm original camera negative and the audio from 35mm print. You Play Version Taiwan｜1982｜彩色
小品，見證世界級電影風格家的練成。沒有結局的結局更叫人期待未來。優質愛情春的執着和探索，愛情無法阻截人生流動，的本色也見於開放的愛人關係，尊重個人青起彼落，調度比後來更工巧熱鬧。中立靜觀目，長鏡頭、寬廣構圖、台語及自然演出此動人的風格。為世稱譽的侯氏美學已見眉的笑料和悅耳民歌風插曲，為影片譜寫跳脫劇，素描工作和愛情的幻想尋覓。漫不經意年代瓊瑤奇情文藝，創作新派都市愛情輕喜鍾鎮濤擔正的賀歲檔賣座片。影片走出七十她》（1981）同樣是「帽子歌后」鳳飛飛、侯孝賢第二部導演作，與首部《就是溜溜的
編導 Dir & Scr 侯孝賢 Hou Hsiao-hsien DP 陳坤厚 Chen Kun-hou
演員 Cast 鳳飛飛 Feng Fei-fei、 鍾鎮濤 Kenny Bee、陳友 Chan Yau、
Like his debut feature Lovable You (1981), Hou Hsiao-hsien’s second film is also a Lunar New Year box office hit starring ‘Queen of Hats’ Feng Fei-fei and Kenny Bee. It is a departure from the literary romances of the 1970s and forges a new style of urban romantic comedy. The film features youthful and creative characters who are unpretentious and depiction of one’s pursuit of romance and career. The nonchalant humour and pleasant folk songs enliven the film with an easy-going style. Audience can get a glimpse of Hou’s aesthetics in the long shots, wide compositions, use of the Taiwanese language, and naturalistic performance. One can argue his direction here is even livelier and more astute than his later films. The portrayal of romance is contemplative and open-minded while it respects the persistence and exploratory nature of the youth’s personal choices. Romance cannot stop life from moving on and its ‘nonending’ lure viewers to look forward to the future. This film is a gem in the romance genre that witnesses the development of a world-class filmmaker.
風兒踢踏踩 Cheerful Wind aka Play While
Rediscovered in recent years, Girls' School is the last film in Lee Mi-mi’s ‘Female Trilogy’. Ting and Lin are inseparable friends in their all-girls high school. Their close relationship becomes a subject of their classmates’ envy, which leads to rumours about homosexuality. Following the others’ warning, Lin distances herself from Ting, who is a stubborn loner from a single-parent household. Her despair eventually leads to an accident. The vilification of homosexuality is a lethal weapon that forces characters to confront the power of social norms. Their attitudes constitute group dialectics, which all seem reasonable. Under the restrictions of the era, the film is able to handle the special theme without dwelling on venting its position and allow room for ambiguity. It has the ability to evoke various feelings and thoughts, leaving viewers to ponder the future. The director returns to her alma mater in Pingtung to shoot this film. Under the bright warm sun, the elegant schoolhouse and fresh faces contrast with the character’s painful coming-of-age.
形成反差。優美明亮，人物清新純良，與慘痛的成長禮母校屏東女中取景，古雅校舍沐浴於陽光，念，至今仍觸發觀者情緒和思考。導演回到體辯證，都合乎情理，為未來留下最大的懸真摯簡樸的寫實格調，人物各種反應構成羣人、師生、家庭多樣關係的理想與失落。採理特殊題材，不做單一立場宣洩，兼容年輕面社會規範的威力，但電影在時代條件下處外。同性戀的污名化是殺人武器，使人物直者來自單親家庭，孤獨倔強，絕望中發生意開始流傳。佳琳聽從師長告誡疏遠智婷，後形影不離，引起同學嫉妬，鬧同性戀的謠言曲」最後一部。女子高中的同學智婷和佳琳近年重新發現的李美彌導演的「女性三部
女子學校
導演 Dir 李美彌 Lee Mi-mi 編劇 Scr 朱秀娟 Chiu Hsiu-chuan 攝影 DP 陳清渠 Chris Chen 演員Cast 恬妞 Tien Niu、沈雁 Shen Yan、 秦漢 Chin Han、周丹薇 Chou Dan-wei、 林南施 Lin Nan-shi、林美齡 Lin Mei-ling Colour｜ 分鐘 min｜DCP｜國語 Mandarin｜ Chi & Eng subtitles
修復版 Restored Version 台灣Taiwan｜1982｜彩色
2020 年台灣電影數位修復計劃。影像掃瞄自 35 毫米 彩色原底片，聲音來自原聲片。
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Taiwan Cinema Digital Restoration 2020. The image was scanned from the 35mm original camera negative and the audio from the original soundtrack negative.
Girls’ School
23/10 ( 日 Sun ) 15:15 BC 設映前簡介 Pre-screening introduction 李美彌 Lee Mi-mi（1946-） 生於台灣屏東，曾擔任李行的場記及潘壘、王羽的副導演，1972 ownPanBorn公司，導演長片《未婚媽媽》（1980）、《晚間新聞》（1980）及《女子學校》，專注於當代女性境遇和社會觀察。年首次執導台語片《純情的愛》。八十年代初自辦inPingtung,Taiwan,LeeMi-mionceservedasscriptsupervisorforLeeHsingandassistantdirectorforLeiandJimmyWangYu.In1972,shedirectedtheTaiwanese-languagefilmPureLove.Shestartedhercompanyinthe1980sanddirectedUnmarriedMothers(1980),EveningNews(1980),andGirls'School. 43
中、英文字幕
網上講座OnlineTalks 專頁連結 Facebook facebook.com/reeltoreelhkPage: 44
前新電影的侯孝賢及其他 Hou Hsiao-hsien and others before the New Taiwanese Cinema 日期及時間 Date & Time：23.10.2022 （日 Sun）20:00 Facebook 直播 Live Stream on Facebook 講者 Speakers：家明 Ka Ming、劉嶔 Lau Yam 粵語主講 In Cantonese 作品的意義及藝術特色。流電影的新嘗試，特別剖析侯孝賢和李美彌和本專題策劃劉嶔會發掘八十年代初台灣主媽、職業女性、同性戀等。資深影評人家明頻登上銀幕，李美彌導演便細緻處理未婚媽影迷稱奇。當時敏感、爭議性的社會問題頻尚，兩性關係開放，會叫熟悉他往後風格的突破。侯氏初執導筒是拍愛情喜劇，快速時間。」新電影誕生前，台灣電影已在尋求不是一下子蹦出來的，我有一個磨練的時術電影運動，但如代表人物侯孝賢言：「我八十年代的「台灣新電影」是重要的國際藝
The New Taiwanese Cinema in the 1980s was a significant art house film movement internationally, but as the major figure Hou Hsiao-hsien said: 'I didn't pop up all at once, I was honed by time.' Long before the movement, Taiwanese Cinema was already looking for a breakthrough. Hou's early films as director are romantic comedy, dealing with love and open relationship between young professionals, and are fast-paced with pop songs, which will surprise his fans as on the surface these bore little resemblance to the director's signature cinematic style in later days. In that period, socially sensitive and controversial issues appeared onscreen frequently and director Lee Mimi's works dealt with these issues including unmarried mothers, professional women and homosexuality with meticulous care. Ka Ming, senior film critic, and Lau Yam, the curator of this section, will explore the new attempts of mainstream Taiwanese films in the early 1980s, and especially focus on Hou Hsiaohsien and Lee Mi-mi's works.
神女滬港三生 Thrice the Goddess between Shanghai and Hong Kong 日期及時間 Date & Time：22.10. 2022 （六 Sat）20:00 Facebook 直播 Live Stream on Facebook 講者 Speakers：羅卡 Law Kar、劉嶔 Lau Yam 粵語主講 In Cantonese 四十年代滬港電影交流及建樹。剛、岳楓、朱石麟的電影藝術，兼論三、和本專題策劃劉嶔會評介珍貴選片及吳永視我們的傳承去向。資深電影研究者羅卡大時代轉折之際的《第三代》（1948）檢麟重視華人文化和道德困境，戰後南來，舞，釋出華美變幻的摩登魅力。大師朱石英姿、《雲裳仙子》（1939）裏鶯歌燕雲裳北上，《木蘭從軍》（1939）的易服女的倘佯轉來香港。同時期粵語片明星陳腳，塑就永恆姿態，數年後電影重拍，神阮玲玉在經典《神女》（1934）中噴煙翹
Ruan Lingyu's beauty was a timeless icon in The Goddess (1934) and the classic was remade a few years later in Hong Kong. At the same time, Cantonese actress Nancy Chan headed north. Her valiant cross-dressing in Mulan Joins the Army (1939), and her skilful singing and dancing in The Angel (1939), reveals her gorgeous and dynamic modern charisma. Master Zhu Shilin values Chinese culture and moral dilemma and his post-war film The Third Generation (1948) examines the inheritance of these. Film researcher Law Kar, and Lau Yam, the curator of this section, will review the precious films and the works by Wu Yonggang, Yue Feng, and Zhu Shilin, and discuss the exchanges and achievements between Shanghai and Hong Kong film industry in the 1930s and 1940s.
日期 Date
Cinerama: A New Dimension of Widescreen Cinema 14/10（五）Fri 20:00
時間
The Ordinary Scenes, Deng Nan-guang's Collections: Taipei Image 早安台北 Good Morning, Taipei ^ 20/10（四）Thu 19:05 獅子城 The Lion City ^ * 21/10（五）Fri 19:15 雲裳仙子 The Angel ^ * 22/10（六）Sat 13:25 胭脂淚 Rouge Tears ^ 15:40 第三代 The Third Generation ^ 23/10（日）Sun 13:00 台北之晨 A Morning in Taipei 風兒踢踏踩 Cheerful Wind ^ 15:15 女子學校 Girls' School ^
Detective: a song cycle ^ 20:45 Talk—The講座：影像的衰變和歷史DecayandHistory of Films
日期 Date Time 百老匯電影中心 Broadway Cinematheque BC
The輝煌的巨型片幅電影史BrilliantHistoryof Wide-gauge Films 16/10（日）Sun 20:00 Archival檔案片段與蒙太奇實驗FootageandMontage Experiments
^設映前簡介 Pre-screening introduction *設映後談 Post-screening talk All主辦單位有權更改節目內容、時間及地點，最新資訊請留意網上公佈。programmesaresubjecttochange,updatedinformationwillbe available on our website.
13/10（四）Thu 19:10 新尼風 鄉村警探之歌沉沒的影像CinematographSunkenFilmsTheVillage
時間 Time PREMIERE ELEMENTS PE
22/10（六）Sat 20:00 Thrice神女滬港三生theGoddess between Shanghai and Hong Kong 23/10（日）Sun 20:00 Hou前新電影的侯孝賢及其他Hsiao-hsienandothers before the New Taiwanese Cinema
9/10（日）Sun 10:30 The格林兄弟的童話世界WonderfulWorld of the Brothers Grimm ^ 15:00 炎上 Conflagration ^ 17:00 不了情 Love Without End *
日期 Date 時間 Time 網上講座 Online Talks
節目時間表 Screening Schedule
6/10（四）Thu 20:00 闊銀幕電影新維度 新藝拉瑪體
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15/10（六）Sat 14:10 百年後的某日 A Day after a Hundred Years 沉沉復游游 Swim and Swim 日出 Sunrise: A Song of Two Humans ^ 16:35 The輝煌的拜奧製作特輯MakingofTheBrilliant The輝煌的拜奧：最早的歐洲流動影像紀錄BiographBrilliantBiograph:EarliestMoving Images of Europe 蝙蝠怪盜 The Bat Whispers
19:20 又見火車 Train Again 典緻軀體 The Exquisite Corpus 刻在心底的情書 Ultraviolette and the Blood-Spitters Gang * 16/10（日）Sun 12:45 重重門。門對門。 Doors Medley 他和她的事情 When Forever Dies ^ 17:05 鄧南光之風景寫真 台北篇
購票須知 Ticketing Information 門票由 2022 年 9 月 19 日起發售 Tickets are available from 19 September 2022
time this brochure goes to print. If any films are classified as Category III, notice will be posted online. 所有已出售的門票皆不能退款，亦不能更換其他放映之場次。如 18 歲以下人士於公佈電影被列為三級前購票，或因節目更改或取消，持票人可由通知當日起至指定限 All期前申請退票。退票方式將於網站公佈。ticketsarenon-refundableandnon-exchangeable unless for any alteration or cancellation of screenings by the presenter, and ticket holders under 18 years of age who buy tickets before the announcement of a film is classified as Category III, ticket holders may get a refund during the assigned period. Please refer to our website for refund procedures. 節目查詢 Programme Enquiries 電話 Tel: 6403 4035 星期一至五上午10 時至下午 6 時 10am–6pm, Mon-Fri Email: info@reeltoreel.org 網址 Website:《他和她的事情》http://reeltoreel.orgWhenForeverDies(2020)
ofincludingFor兩位成人及一位小童之戲票，只適用於票房購票香港兒童國際電影節會員套票優惠，包括《格林兄弟的童話世界》HongKongKidsInternationalFilmFestivalmember,2adultsand1childticketsofTheWonderfulWorldtheBrothersGrimm,applicableforpurchasingatthecinemaboxofficeonly. 購票方式 Ways to Purchase 親臨 PREMIERE ELEMENTS 票房及自動購票機購買 Available at the cinema box office and self-service ticketing machine 網上購票 Internet Booking: www.cinema.com.hk 電話購票 Telephone Booking: 2388 網上及電話購票，將會收取每張港幣3188$8（星期一至五）或 $10（星期六、日及公眾假期） For的手續費，所有已繳付之手續費皆不設退款。onlineandtelephonebookings,ahandling charge of HK$8 (Mondays to Fridays) or HK$10 (weekends and public holidays) per ticket will be levied. All handling charges collected are non-refundable. Screenings百老匯電影中心場次atBroadway Cinematheque (BC) 3九龍油麻地眾坊街3號駿發花園PublicSquareStreet,YauMa
PREMIERE ELEMENTS 場次 Screenings at PREMIERE ELEMENTS (PE) 2130,九龍尖沙咀柯士甸道西1號圓方商場火區2樓2130號鋪2/F,Fire,ELEMENTS,1AustinRoadWest,Kowloon HK$85 正價 Standard HK$68 Children,小童、長者、學生及百老匯電影中心會員seniors,studentsandbcVIPmember HK$100《格林兄弟的童話世界》TheWonderfulWorldoftheBrothersGrimm HK$80 《格林兄弟的童話世界》：小童、長者、學生及百老匯電影中心會員TheWonderfulWorldoftheBrothersGrimm:Children,seniors,studentsandbcVIPmember HK$200 Tei, Kowloon HK$85 正價 Standard HK$68 Children,小童、長者、學生及百老匯電影中心會員seniors,studentsandbcVIPmember 購票方式 Ways to Purchase Available親臨百老匯電影中心票房及自動購票機購買atthecinemaboxofficeandself-service ticketing machine 網上購票 Internet Booking: www.cinema.com.hk 電話購票 Telephone Booking: 2388 網上及電話購票，將會收取每張港幣3188$8（星期一至五）或 The本宣傳刊物出版時，是次節目部分電影尚未獲電影、報刊及物品管理辦事處評列等級，如有電影被列為三級，主辦單位將於網上公佈，敬請留意。備註refundable.per(MondaysFor六、日及公眾假期）的手續費，所有已繳付之手續費皆不設退款。$10（星期onlineandtelephonebookings,ahandlingchargeofHK$8toFridays)orHK$10(weekendsandpublicholidays)ticketwillbelevied.Allhandlingchargescollectedarenon-SpecialNotesCategoriesofsomeofthefilmsintheprogrammearenotyetratedbytheOfficeforFilm,NewspaperandArticleAdministrationatthe
覺聲效技術特色，以及尋找香港舊戲院足跡！旅，參觀神秘的戲院放映室、了解菲林放映年代的視施。讓歷史悠久的碳弧燈放映機帶領你走一趟時空之「區區有戲院」，甚至是政府規劃標準中的社區設入戲院看電影是十分普及的大眾娛樂，香港曾經更是
FORTHCOMING STORYBOOK The Origins Cinema(going)of
Going to the cinema is a very popular form of mass entertainment. In Hong Kong, there was a time when 'cinemas were in every district'. Let the historic carbon arc light projector take you on a journey through time and space, to visit the mysterious projection room, and learn about the audio-visual technology of celluloid film screening!
鳴謝 Acknowledgment Bill Morrison Elif Rongen-Kaynakçi Dr. Giovanna Fossati Kathryn Penny Peet 黎肖嫻博士劉智軒劉子斌陳庭章家明李顯順江千慧GelderblomChanelKongDebbieLeeSuKaMingTimChanBunnLauJimLauDr.LindaLai Chiu-han 羅卡 Law Kar 特別鳴謝 Special thanks to British Film Cathay-KerisInstituteFilmsPte. Ltd Cinerama, NationalMaryLightdoxKADOKAWAInc.CORPORATIONPickfordFoundationScienceandMedia Museum Park Circus Group UCLATangerinesixpackfilmTreeFilm&Television Archive waveincity x waveroom studio 天映娛樂有限公司 Celestial Pictures Limited 星光聯盟影業 (香港) 有限公司 Star Alliance Movies (HK) Co., Ltd. 香港兒童國際電影節 Hong Kong Kids International Film Festival Hong康樂及文化事務署香港電影資料館KongFilmArchive,Leisureand Cultural Services Department
關於 REEL TO REEL INSTITUTE ｜ ABOUT US 於 2018 資助TheHong香港藝術發展局全力支持藝術表達自由，本計劃內容並不反映該局意見。inAll版權所有，未經本機構同意不得翻印、複製、節錄、轉載或其他用途。©出版及發行collectionscreenings,preservation,Reel同時關注劇情片種以外之作品的收藏與保存。計劃，以及推行電影數碼轉換或修復項目，令大眾有更多機會接觸本地和海外相關機構的藏品，年成立，是一個非牟利藝術團體，旨在推廣視聽遺產保育工作，透過籌辦放映節目和教育toReelInstituteisanon-profitorganisationfoundedin2018thataimsatpromotingfilmandwideraccessofaudio-visualheritageinHongKongbydeliveringpubliceducationprogrammesanddigitisation/restorationprojects,alsosupportingtheandpreservationofmovingimagesbesidesfeaturefilms.工作人員Credits節目團隊ProgrammingTeam龔秋曦AkiKung羅海珊JanisLaw劉嶔LauYam項目助理ProjectAssistant盧樂宜KarenLo翻譯Translators梁煥茵EricaLeung馮東驕GilFung楊芷茵OliviaYeung平面設計GraphicDesignBeWoks~宣傳片製作TrailerEditor許仲賢EricHui宣傳Marketing吳爾婷EmilyNgPublisher&Distributor2022REELTOREELINSTITUTELIMITEDrightsreserved.Thepublication,reproduction,extractionortransmissionofallorpartofthebrochure,anywaywithoutthepriorconsentofReeltoReelInstitute,isprohibited.KongArtsDevelopmentCouncilfullysupportsfreedomofartisticexpression.viewsandopinionsexpressedinthisprojectdonotrepresentthestandoftheCouncil.Supportedby主辦Presentedby
