BISFF Live recording ②
Q&A
1.Her Times
Q: "Her Times" is a very light short film. The story is about several fragmented moments of a young woman in a day, including boredom, fantasy, and even moments of enlightenment, as well as comparisons. One of the highlight director's works, "White Horse, Silver Mine", also came to BISFF. Comparing the two works, they are still very different. I would also like to ask Ziyi to talk about the creative background of this new work.
《她这样度过了一天》是一部很轻盈的短片，故事是关于一个年轻女性在一天内的几个碎片化的时刻，其中有无聊的、幻想的，甚至是顿悟的时刻，也有比较鲜明的女性视角。导演金子亦的上一部作品《白马，银矿》也来过BISFF，两部作品比较来看，还是很不一样。我也想请子亦谈一下这部新作的创作背景。
A: Thank you, yes, actually when I started creating this work, it was a proposition composition. I had an opportunity to make a movie, but I needed to write a story and make a movie with the theme of inspiring women. It was a coincidence that I happened to be living in Wen Yi's (lead actor) house at the time. Actually, I didn't know how to create this theme. Then I started to ask her, I asked her if there were any very important moments in your past life experience that affected you, and she told me about her real experience, which is the third part of the movie. Wen Yi is an actress, but in fact, at that time, she was still a flower shop owner, and she could also make coffee. Because when I write, I focus on what’s happening in the moment. So I lived in her house at the time, and I saw every day how she made flowers, made coffee, entertained various guests, and how she took care of their pets. I integrated these fragments of her life that I observed into this story. So the writing process was my experience in those two or three days, and then the inspiration given to me by Wen Yi, and then it turned into such a script, and then we filmed it or everyone.
谢谢，是的，其实我开始创作这个作品的时候，它就是一个命题作文。我当时是有一个机会可以拍个电影，但是需要以激励女性为主题，去写一个故事去拍一个电影。当时就特别巧，我正好住在文祎（主演）家里头，其实我有点不知道该怎么去创作这个主题。然后我就开始问她，我说你过去的人生经历中有没有一些比较影响你的一些非常重要的时刻，她就跟我讲了她的真实的经历，就是电影里头的第三部分。文祎她是一个演员，但其实在当时，她的身份还是一个花店老板，她也会做咖啡。因为我写东西，我很聚焦当下发生了什么事情。所以我当时住在她家里头，我天天看到她怎么去做花、做咖啡、招待各种各样的客人，以及怎么去养他们家的宠物。我把这些我观察到她的一些生活的碎片，融进了这个故事里头。所以写作的过程，就是那两三天我的经历，然后以及文祎给我的灵感，然后它变成了这样的一个剧本，然后我们把它拍或者说大家。
By Jin Ziyi (Director - Her Times)
A: When Zi also mentioned this matter to me at that time, I suddenly thought that I must take a dance class, modern dance, when I go to college. It was probably the second or third period of class when the teacher said that a guest was invited today and would perform a performance in class. When the guest teacher started class, she started falling down repeatedly, which is the scene written in the script. I remember that there were many young white students in the classroom, mostly boys. They might not care about this class and thought it was just an elective course. Everyone was whispering to each other and laughing. But I don't know why I'm most curious about her. When I saw her repeatedly falling down, and finally standing up very calmly and saying that this was her own creative process, that moment still touched me. After I told the director this story, I thought she should be very moved as well, so I wrote it into the story.
当时子亦跟我提到这个事情的时候，我突然想到上大学的时候必须要选修一节舞蹈课，现代舞。应该是第二节还是第三节课的时候，老师说今天邀请了一位嘉宾，会在课堂上进行一段表演。这位客座老师开始上课的时候，她就开始不断地摔倒，也就是剧本里面写的那个场景。我记得教室里面有很多年轻的白人学生，男生居多，他们可能并不在乎这节课，觉得只是选修一门课。大家都在交头接耳，都在笑。但我也不知道为什么我就对她最好奇。看到她一直不断地重复摔倒的动作的时候，最后还是非常从容地站起来说，这是她自己创作的过程的时候，那一刻还是挺触动我的。我跟导演讲了这个故事以后，我觉得她应该也很感动，所以就把它写进了故事里。
By Wei Wenyi （Actress - Her Times）
Still 1.
2.The Tomato Girl
Q: "The Tomato Girl" is a work that impressed me deeply during the film selection process. It may deal with a theme that many short film creators have been dealing with in recent years, about the relationship between self, family and relatives, including issues of self-identity; but it is very diverse in form: there are stop-motion animations, theater performances, and Different documentary materials, including the identity of the creator, in short, there are many narrative levels. I'm also very curious, how did this film, especially its diverse forms and multi-layered narratives, develop step by step?
《海都是海》是我在选片过程中印象非常深刻的一部作品。它处理的可能是近些年很多短片创作者都在处理的主题，关于自我跟家庭、亲人之间关系，包括自我认同的问题；但在形式上非常多元：有定格动画，剧场搬演，还有不同的纪录素材，包括还有一层创作者的身份，总之有非常多的叙事层次。我也很好奇，这个影片，特别是它多元的形式和多层次的叙事，是怎么一步一步发展出来的？
A: The narrative method of this film has a lot to do with my creative process, because I am not an undergraduate student. I am originally a Chinese major, which is actually quite far away from filmmaking. I don’t know what “regular filmmaking” means, so I’ve been exploring how to create.
Contemporary art, theater, and documentary video are all areas where I study, create, and experiment, which is why there are so many mixed materials in it. Also, I started photographing my mom in 2016. I wanted to photograph my mother because I thought that through photography, I could gain a new identity—a "recorder"—and this new identity might allow me to view and understand my mother from a different perspective. But in this process, I discovered something very important to me, that is, I found that "seeing and understanding the other party" does not seem to be the only way to reconcile. Before reaching understanding, I seem to have to see and understand myself first: What have I experienced in my life experience so far? What am I feeling? Why am I angry?
This also changed the original idea of recording. I wanted to face myself first, record myself with images, create space for those feelings that could not be accommodated, and then speak out. So I later decided that the theme I wanted to record was "subjective feelings." The question of "how to record subjective feelings" then came to me. I seemed to be unable to capture this subjectivity with a camera, so what method should I use to record it?
So I played around with a lot of possibilities, and I had done installations before, so I just put these things in the film to see what kind of effect it would have. There was also a period of time when I used my body to interact with my documentary images (I participated in the Documentary Theater of Taiwan TIDF). This experience also helped me break the definition of the so-called documentary tradition, so I chose to use composite media to record the so-called subjectivity and how these subjectivities follow the so-called objective interaction.
这个影片的叙事方式跟我的创作滋养过程蛮有关系的，因为我不是本科系出身的，我本来是中文系的，其实跟拍电影蛮远的。我不知道怎么样才叫做「正规地拍电影」，所以我一直都在探索该怎么样做创作。
当代艺术、剧场、纪录影像，都是我学习创作、尝试的领域，也因此才会有这么多混合素材在里面。另外，我从2016年开始拍摄我妈妈。会想要拍妈妈是因为我以为我可以透过拍摄，获得一个新身份──“纪录者”，而这个新的身份也许可以让我有不一样的角度看待、理解妈妈。但在这个过程，我发现了一件对我很重要的事情，就是我发现“看见并理解对方”似乎不是和解的唯一方法，在抵达理解之前，我好像得先去看见、理解我自己：在截至目前的活着经验之中，我经历的什么？我的感受是什么？我为何愤怒？
这也让原本的纪录意念转向，我想先面向自己，用影像记录自己、为那些无法安放的感受创造空间，然后说出来，所以我后来决定我要记录的主题是“主观的感受”。 “如何记录主观的感受”这个问题接着来到我面前，这个主观我好像没有办法用摄影机拍，那我用什么样的方法去记录它？
所以我试了很多种可能性，我曾经做过装置，所以我就把这些东西放进来片子，看看它会产生什么样的效果。也有一段时间我用身体跟我的纪录影像互动（我参加台湾TIDF的纪录剧场）。这个经验也帮助我打破所谓纪录片传统的定义，所以我选择用复合媒介记录所谓的主观，以及这些主观如何跟随所谓的客观互动。
By Hsin-Ying KUO（Director - The Tomato Girl）
Still 2.
3.A Throwing Forth
Q: Questions about the creative process also extend to the film "A Throwing Forth" It is actually very short, but there are many experimental attempts to use different materials to interact with light to create a certain atmosphere and convey a certain emotion. I don’t know if this is the right summary? I also want to hear what director Zhang Xiaolai has to say.
对于创作过程的疑问也延续到《投掷》这部影片。它其实非常短，但有很多实验性的尝试，试图用不同的材料跟光进行互动，以营造某种氛围和传达出某种情绪，我不知道这样的总结对不对？也想听听导演张晓来谈一谈。
A: This work took me about 2 to 3 years to collect materials. The cyanotype photos you see in the film are a photography project I did during the epidemic based on the Feng Shui manuscripts left behind by my deceased grandfather, my grandfather’s father. When I moved to Los Angeles, I started to have a feeling that I was starting to have new questions about home, or about my identity. During this process, the feeling of missing family became very strong. So this is why I want to look back at the photography projects I have done before, and use projection and throwing to create a reunion with my family in the house where I live now. Thanks.
这个作品我大概花了2~3年的时间去收集素材。你们在片子里面看到的蓝晒的照片是我在疫情期间，根据我已去世的祖父，就是我爷爷的父亲，遗留下来的风水手稿做的一个摄影项目。当我搬到洛杉矶之后，我开始有一种感觉，对家或者说是对自我认同开始产生一些新的疑问。在这个过程当中，一种想念家庭的感觉变得非常的强烈。所以这也是我为什么想要回看我之前做过的摄影项目，通过投影和投掷，在我现在生活的房子里面去做一个和家人的重逢。谢谢。
By Zhang Xiao (Director - A Throwing Forth)
Still 3.
4.Memories of the yellow river
Q: In my opinion, "Memories of the yellow river" is also a work that describes the atmosphere and human condition more than narrative. I am very interested in how the entire image captures people's state through hot atmosphere, climate change, and environmental pollution, and finally presents a somewhat incredible story. I would also like to ask director Shang Ji to briefly share with you the source of the entire idea. .
在我看来，《热河》这部作品也是一部对氛围和人的状态的描写多过叙事的作品。我对整个影像通过炎热的氛围、气候的变化、环境的污染去捕捉人的状态，最后呈现出一个让人有点匪夷所思的故事很感兴趣，也请导演尚骥跟大家简单分享下整个创意的来源。
A: In fact, the starting point of it came from the weather. At the beginning, I was in the south with a friend. We often suffered from heatstroke, and things in our hearts did not go smoothly at that time. At that time, I felt as if my heart was very hot, and the weather was also very hot. We often suffered from heatstroke, and we had a particularly dazed feeling, as if we were getting hotter every year. Because we shot the entire film in the northwest, the city in the northwest where I lived growing up did not have air conditioning. But it seems that in the past two years, everyone has started to buy air conditioners in the summer, and it seems that it is getting hotter every year, which is also stated throughout the video. Because there are some essential factories in the development of the northwest, these factories also cause some pollution to the city. One day I suddenly discovered that the soil seemed to start falling in winter, and my city began to fall soil. This kind of soil would be looming, as if the friendship, family, and love between us were somewhat invisible. So I would rather say that in this environment, we should pay attention to the relationship between people. Thanks. It is a feature film project. We have been preparing a feature film for the past two years, but at a more suitable time last year, we shot a short film like this.
其实它的起点还是源自于天气，最开始我跟我的一个朋友在南方，我们经常中暑，当时的心里的事情也没有推得很顺利。当时就觉得好像心里很热，天气也很热，我们经常中暑，就有一种特别恍惚的感觉，好像去回想一年比一年热。因为整个影片我们是在西北拍摄的，从小到大我生活的西北城市是没有空调的。但好像这两年大家开始在夏天购买了空调，好像是觉得一年比一年热，包括整个影片也在阐述。因为西北发展中有一些必不可少的工厂，这些工厂对城市也造成了一些污染。有一天我突然发现在冬天的时候好像开始下土了，我的城市开始下土了，这种土会若隐若现的，好像我们之间的友情亲情和爱情有些看不见了。所以我更想说在这种环境之下，我们应该关注人和人之间的关系。谢谢。它是一个长片的项目，这两年我们一直在筹备长片，只是在去年比较合适的一个时间，我们拍了一个这样的短片。
By Shang Ji （Director - Memories of the yellow river）
Still 4.
Q: Please tell the producer, did you encounter any difficulties during the entire creation process of this work?
请出品人谈一下，这部作品的整个创作过程中有没有遇到什么困难？
A: Our film was actually very difficult. It probably took two years to create. We were short of funds at the time, so we overcame it step by step. At that time, our preparations were in Lanzhou. Lanzhou used to be a city with serious industrial pollution because it used to have many factories and the city layout was long and narrow. You may have also seen the lighthouse in the film. It burned from day to night, and the smoke was visible throughout the city. In fact, it was still not easy, so I am very grateful to our director for overcoming it step by step and finally completing this film. When we were reviewing the film in October, my own feelings may not have been so strong, but today when I went to watch the film with everyone, I felt a little moved, just like when we were selecting the film. The feeling is different.
我们这个片子其实很艰难，创作可能也有两年，当时也是缺资金的状态下，把它一步一步克服过来的。当时我们筹备是在兰州，以前兰州是一个工业污染比较严重的一个城市，因为它以前有很多的工厂，而且城市布局是一个狭长形。大家可能在影片中也看到了灯塔，它从白天一直烧到晚上，一直在烧火，烟冒得整个城市都能看得到。其实还是很不容易的，所以非常感谢我们的导演，还是一步一步地把它克服下来，最终完成了这个影片。我们当时在10月份审片的时候，可能我自己的感受还没有这么强烈，但是今天我在跟大家一起去看这个影片的时候，我觉得还是有点感动，和当时我们在选片子的时候那种感受是不一样的。
By Li Baofei (Producer - Memories of the yellow river)
Still 5.
5. Half Time
Q: The work " Half Time" is very complete both in terms of narrative and images. In my opinion, it is actually a narrative about a good person who has never been treated well in society, but you have given this narrative a very current and specific context, which is the experience of Chinese workers in Japan. I can also feel that in the film, you seem to have felt some cultural barriers and questions about your self-identity as a Chinese international student in Japanese society. So I also want to ask you to talk about how you came up with this story, what kind of homework you did, and how you developed the story and the characters in the film step by step.
《中场休息》这部作品，无论是从叙事还是影像上都非常完整。在我看来，它其实是关于一个好人在社会里一直不被善待的叙事，但你为这个叙事赋予了一个很当下很具体的语境，也就是中国劳工在日本的遭遇。我也能够感受，影片中似乎你自己作为中国留学生在日本社会里面感受到的一些文化隔阂和对于自我身份认同的疑问。所以我也想请你谈一谈，你是怎么有了这个故事，又做了哪些的功课，如何把这个故事和影片人物一步一步发展起来的。
A: Thank you host. The protagonists in this film are laborers. In fact, I have known about the existence of such a group for a long time, but I was not particularly empathetic at the time. Because I think there is no way to change the existence of workers and laborers, exploitation and exploitation, so I didn’t pay attention at first. Later, I read in some books and in the news that many workers were killing people. In an oyster factory, one person could use a rake like Zhu Bajie to crawl seven or eight Japanese to death. It was an exaggeration. Most of those people are my fellow villagers from the Northeast. I was wondering what kind of problems my fellow villagers encountered. Some of the writings in it are very detailed, including the background, including their return to Qiqihar and some stories about their family.
After reading it, to be honest, I had some questions, but I didn’t say I wanted to know more. Later, the Japanese government would have some TV stations like CCTV, such as NHK, and they would have some documentaries specifically talking about these labor unions, saying that the unions would treat these workers and these Chinese people well and provide them with food and housing. Yes, it provides a nice environment and is a very honest propaganda. So I thought at that time, since you set up your own character in such a big way, I might as well go from behind and see what's wrong with it. That's what I thought, So I entered this system to make documentaries.
"Half Time", in fact, during the process of making the documentary, I compiled some materials. Some interview clips and some people and events, including the plot logic, were all taken from similar documentaries. It was also a script for a feature film, and I took out about a dozen scenes and shot a short film first to weigh it up and see how much I weighed, so I wanted to give it a try.
Regarding this name, an older brother chatted with me and told me about the problems he encountered. He said that training in China is like the first half, and working in Japan is like the second half. When encountering conflicts, there are overtimes and penalty shootouts. . He told me this, and I thought it was very interesting at the time, but I found that there was one missing point when he told it, that is, he didn't mention the intermission. These workers came to Japan from China. In fact, during the process, they studied in the labor union for a period of time. This period of time is protected by law, they will be paid during that time, and they can participate in various activities. Taking an English class, and then going to experience a tea ceremony, an earthquake museum, or a kimono, etc., is a learning process. It's very safe, like a buffer. So I think halftime is very similar to their time in the group, and the two concepts fit together.
During the halftime of a football match, football players usually take a break between the first half and the second half. Everyone feels that they should be able to take a breather and drink some water or something. In fact, that's not the case. They also have quarrels, disputes, and entanglements here. So these two concepts fit very well, so I thought I could use them. Moreover, labor in Japan is relatively different from that in Europe. It has some very complicated reasons and organizational structure, so most people can't understand it. Because of my setting, he did not work illegally. Everyone knows about illegal work. He is an illegal worker. He has broken away from his identity as a worker. To put it bluntly, he is breaking the law. But I think this problem cannot be dealt with so lazily. I want everyone to understand it, so I replaced it with the concept of football and connected everything with football. In the end, it became a short film like this. But it’s actually quite ironic, because like the host said, a good guy turns bad and becomes a passive protagonist, right? The world inside was full of lies and deceit. In the end, he didn't know who to listen to. That was it.
But the irony is that during the filming process, I felt very helpless because I could clearly see who was a liar and who was a big liar. I could see everything, but it was useless. After I finished reading it, it was like the ending, and I had no way to give him a result. And I think giving him a result is, on the contrary, an interference to these people, because their choice to come to Japan is like a football match. For them, this is destined to be a game with no chance of winning. From their choice At that moment, Japan had already lost. So actually there was other material later, so I didn’t use it, so I just ended it in a place like the player tunnel. The first shot shows him changing and resting in the locker room like a player, and the next shot shows him walking directly to the tunnel to start the second half. I felt that at that moment he was an upright person, consistent with his own self-perception, and he did not go down any wrong path. He might kill someone the next second, but before that, he was still the same person.
谢谢主持人，这个片子里的主人公他们是劳工。其实我很早就知道有这样一个群体的存在，但是我当时不是特别能共情。因为我觉得有工人有劳动者的地方存在，剥削跟被剥削，这个是没有办法改变的，所以我一开始是没关注。后来我是在一些书里边，还有新闻里边看到有很多劳工他们杀人。他们会有在牡蛎工厂里边，一个人会用猪八戒那种钉耙会爬死七八个日本人，很夸张。那些人大部分都是我的老乡，是东北人，我就在想，我的老乡他们到底是遇到了什么样的问题。里边有些书写得很细，包括里面的背景，包括他们回到了齐齐哈尔，讲他们的家庭的一些事。
看完了以后，说实话我是有一些疑问，但是也没说想去进一步去了解。后来日本政府，他们会有一些类似像中央电视台的电视台比如NHK，他会有一些纪录片，专门去讲这些劳动组合工会，就说工会会善待这些工人、这些中国人，给他们提供吃的提供住的，提供优渥的环境，很光正的一个宣传。所以我当时就觉得，你既然这么大张旗鼓地去立给自己的人设，我不如从背后我去看看到底有什么样的毛病，我就这么想，所以我就去进入了这个体系当中去拍纪录片。
《中场休息》，其实在拍纪录片的过程当中，我整理出了一些素材，有一些采访的片段和一些人和事，包括情节逻辑都是同类的纪录片里边摘出来的。也是一个长片的剧本，然后拿出了大概十几场戏，先拍一个短片掂量掂量，也看自己有几斤几两，想试一下。
关于这个名字，是有一个大哥跟我聊天说他遇到的问题，说在中国培训的时候就像上半场，来日本打工就像下半场，遇到矛盾还有加时赛，还有点球大战。就这么跟我讲，我当时也觉得很有意思，但是我发现他讲的时候缺了一个点，就是没有提及中场休息。他们这些劳工从中国到日本的，实际上在这个过程当中，有一段时间是在劳工组合里边学习的。这段时间是受法律保护，那个时候会给他们发工资，他们可以去参加各种各样的活动。去上英语课，然后去体验茶道、地震馆或和服什么的，就是一个学习的过程。是很安全的，类似像一个缓冲一样。所以我觉得中场休息跟他们在组合里边时间是很像的，这两个概念是契合的。
足球比赛的中场休息，通常足球运动员就是上半场下半场之间休息的时候，大家感觉他们应该能歇口气儿，能喝点水什么的。实际上也不是，他们这里边也有争吵，有纷争，有纠葛。所以这两个概念很契合，我就觉得可以把它拿过来用。而且在日的劳工它相对来讲跟欧洲那边还不是太一样，它有一些很复杂的原因，组织的构成，所以一般人看不懂。因为我的设定他没有去打黑工，打黑工所有人都懂，他就是一个黑工，他已经脱离了工人身份了，说白了他就违法了。但我觉得这个问题不能这么偷懒去处理，我想让大家能看懂，我就用足球的概念去置换了它，把所有的东西都跟足球去联系，最后就变成了这样的一个短片。但实际上也很讽刺，因为就像主持人说的一个好人变坏了一个被动主人公，对吧？里边这个世界里充满了谎言，还有欺骗，最后他也不知道应该听谁的，就是这样一个事。
但讽刺的是，我在拍摄的过程当中，我觉得非常无奈，恰恰我能看清这里边谁是骗子，谁是大忽悠什么我都能看到，但是没有用。我看完了以后它就像结局一样，我没有办法去给他一个结果。而且我觉得去给他一个结果，相反也是对这些人的一种干涉，因为他们来日本的选择就像足球比赛一样，对他们而言，这注定是一场没有胜算的比赛，从他们选择来日本那一刻，就已经输了。所以其实后面还有别的素材我就没有用，就直接把结尾掐在了像球员通道一样的地方结束了。前一个镜头是他像球员一样，在更衣室里边更衣休息，下一个镜头直接走向球员通道开始下半场。我觉得在那个时刻他是一个堂堂正正的人，跟他自己的自我认知是相符的，他没有走上歪门邪道。他下一秒可能就去杀人了，但在这之前他还是他。
By Zhang Yaoyuan (Director - Half Time)
Still 6.
Audience Question
Audience 1:
I would like to ask Zhang Yaoyuan, the director of "Half Time", is the ending of this short film also the final ending of your feature film?
我想问一下《中场休息》的导演张曜元，这个短片结局也是您长片最后的结局吗？
Zhang Yaoyuan:
I won’t say much about the ending, this is just a small aspect. The protagonist went through a lot of things after that, including a fake marriage with a Japanese, and then a series of ridiculous things involving deception and abduction.
结局我就不多说了，这只是一个小切面。主人公之后经历很多事，跟日本人假结婚，然后就坑蒙拐骗一系列的荒唐事。
Living Photo 1.
Audience 2:
I would like to ask the director of "The Tomato Girl". I think this is a very gentle film. You talk about the (conflicted) relationship with your mother in a very sharp way at the beginning, but then it turns to a very gentle reconciliation, which is very touching. What I want to ask is, is there a scene where you film your mother watching your material with you from an objective perspective? How did you come up with such a scene?
我想提问《海就是海》的导演。我觉得这是一个很温柔的片子，你前面以一种很尖锐的方式去讲跟母亲之间的那种（充满矛盾的）关系，但后面转到非常温柔的和解，很打动人。我想问的是，有场戏是以一个客观的视角去拍摄妈妈和你一起在看你的素材。你是怎样构思出来的这样一个场景的。
Hsin-Ying KUO：
Thanks. In fact, when I was editing to the end, I wanted to take the video home to show my mother, because it also used the records I had taken of her before. So I wanted to go home and confirm with her: "This is how I used it. It is not a complete presentation. It has been edited. Is this presentation okay?" That was what I had in mind at that time. , so I went home to watch the film with my mother, and also filmed the process. This was a very intuitive decision, and it (the existence of the camera) was my daily routine at that time.
I gained a lot from watching the movie with my mother that time, and I felt that there were many things I had never thought about. For example, after watching the movie, I asked my mother, do you think it is okay to use it like this? At the beginning, just like in the movie, she kept saying that she was not beautiful, did not wear makeup, etc., but when I was cleaning up, she suddenly said to me: "Do you really think it is appropriate for me to speak like this?" I listened at the time. When I said this sentence, I thought it was very interesting. This small moment was quite important to me, because I felt that before that, the two of us were in a state of wanting to confirm something to each other, but this confirmation was always It was in vain, because we both had different views on what had happened. She even felt that it was nothing and that I had remembered it wrong. But when it was recorded into video, we seemed to have a new distance to watch our interaction, and we seemed to be more equal. So I think it was because of this interaction that I later decided to treat the process of watching the movie with my mother as It was included in the feature film, even though I struggled for a long time whether to release it or not.
谢谢。其实是在我剪接到最后时，我想要带影片回家给妈妈看，因为里面也用到了我之前拍她的记录。所以我想回家跟她确认说：“我是这样子使用的，它不是一个完整的呈现，它是有被剪辑过的，这样的呈现是可以的吗？” 那时候是这样的起心动念，所以我就回家跟妈妈一起看片，也把这个过程拍下来，这是一个很直觉的决定，它（摄像机的存在）是我那阵子的日常。
那一次跟妈妈看影片收获蛮多，就觉得很多事情是没有想过的，比如说在看完片之后，我就问我妈妈说，这样子的使用你觉得ok吗？她一开始就像片子里面那样，一直说自己不漂亮、没有化妆等等，但她在我收拾的时候，突然跟我说：“你真的觉得我这样讲话是恰当的吗？”我当时听到这句话时，觉得很有趣，这个小小的时刻对我来讲蛮重要的，因为我觉得在那之前我们两个都是在一个很想要互相确认一些事情的状态，但这个确认始终是徒劳的，因为我们对于发生过事情，都有不同的看法，她甚至觉得没有什么，都是我记错了。但当过具备纪录成影像时，我们好像有一个新的距离去观看我们的互动，我们好像比较对等了，所以我觉得是因为这个互动，让我后来决定把和妈妈一起看片的过程也放进正片当中，尽管也是挣扎很久要不要放。
Living Photo 2.
▌more information：https://www.bisff.co/yearbook/bisff2023