BISFF Correspondence 通信计划
为了跨越种种障碍，开辟更多交流空间，我们设置了“BISFF Correspondence 通信计划”，对部分国际单元的参展作者进行系列访谈，这些访谈将在作品放映后发布在联展各个媒体平台。
This program involves conducting brief email interviews with the directors of the international films featured in the festival, in lieu of the traditional Q&A session that follows the screenings. Through this program, we hope to provide a platform for filmmakers to discuss their work and share their insights with our audience in China.
Semiotics of the Home｜家庭符号学
Hsin-Yu Chen, Jessi Ali Lin
USA｜No Dialogue ｜0:07:55｜2023
Director导演:Hsin-Yu Chen, Jessi Ali Lin
Q1 : Why was it filmed in an abandoned dump? Can it be understood as a rebellionagainst “home” in a general sense?
A1 : The work was filmed at an industrial waste recycling center in Philadelphia, which takes in a lot of demolition and construction materials. We were interested in the recycling center as a site that reflected the quickly gentrifying landscape of the city. Developers come in, demolish the site, and build modular apartments as efficiently as possible. Large industrial machines are integral to the laboring process, whether for tearing down old houses or attaching wall pieces to building facades. The contrast between the notion of an intimate home and its industrial process became a driving force for the work. We also wonder if the notion of warmth is only a blanket to mask the reality that these modular structures are places to house our ever laboring bodies.
Q2 : Construction machines were cast as actors in the film, completing daily tasks such as cooking, cleaning, eating, and resting. However, the behavior of the large machinery does not give the audience a strong sense of separation. In what ways are inanimate machines endowed with tender emotional overtones? Is there a unique symbolic meaning behind this setting?
A2 : Interested in these machines as an integral part of the home building process, we thought it would be subversive to cast them as inhabitants of the homes they’ve built. This role reversal at once hints to the endless nature of labor, extending it to the home which should be a resting place. The absurdity of industrial machines performing delicate gestures highlight the nature of labor behind both house building and homemaking.
Q3 : At the end of the film, the construction machinery swings from top to bottom and from left to right. This action lasted for almost a minute, but no clear subtitle was given. What does it refer to? Why did you choose it as a wrap-up to your action collection?
A3 : The work titled “Semiotics of the Home'' hints at Martha Rosler’s “Semiotics of the Kitchen'' where Rosler goes through kitchen tools in an alphabetic order. Similar to Rosler, where she violently draws in the air with her hands the last alphabets, we were interested in how this would come across with a large machine body. Since the machine is big, we couldn’t draw “X, Y, Z” quickly. The speed and weight reflected on the limitation of the machine body, which responded well with the general theme of the work.