10/23(四) 鴻鴻電影課： 歧路尋羊──溫德斯的電影旅程

10/23(四) 鴻鴻電影課
主題：歧路尋羊──溫德斯的電影旅程
主講人：鴻鴻 導演 (部落格：鴻鴻的過氣兒童樂園)
講座時間：10/23 (四) 晚上7:30 (《都市時裝速記》播放完畢後)

主講人簡介


本名閻鴻亞，1964年生於台南。畢業於國立藝術學院（現今的台北藝術大學）戲劇系，擁有豐富的劇場編導經歷，目前活躍在文學創作、劇場，以及電影領域。1991年鴻鴻參與編寫《牯嶺街少年殺人事件》電影劇本，並且一舉獲得金馬獎最佳原著劇本獎，讓他由劇場成功的跨足電影領域。

1998年，鴻鴻創立快活羊電影工作室，首次獨立執導的電影處女作《3橘之戀》即獲得威尼斯影展邀展，並奪下南特影展最佳導演獎。除了風格各異的電影作品之外，他也展現了豐富的創作力在文學、劇場和電視等領域。曾經多次獲得文學獎項，並出版多本文集、詩集和劇本，是位多才多藝的藝術工作者。(簡介引用自台灣電影筆記)

Donata Wenders

溫德斯來台訪問的行程，溫德斯的妻子Donata Wenders也會一起。 Donata Wenders是相當之名的攝影師，也曾為溫德斯的電影"樂士浮生錄"拍過劇照。以下是Donata的官方網站，點開Gallery可以看到很多她的攝影作品。

http://www.donatawenders.com/

《巴黎德州》的評論 Part 3 by Rey Bianchi

Wim Wenders' Paris Texas (1984) (Part 3)

(commentary by Rey Bianchi (Wen Huei-Min), NCCU English Dept (retired))

What I have written up to now pretty much sums up my impressions of what the story-line was trying to say: that belongs to structure, the sensibility, or the bones of the film.

What follow here is the essence, the sense, the flesh of the story.

1) Paris, Texas - well, after all, the IS the name of the movie, even tho it is only referred to 2 or 3 times in the whole thing. Paris was where Travis came from. More importantly, it refers to his mother more than himself. While he tried, unsuccessfully, to relate to his mother (Walt asked "why did you buy the land?" Travis: "...I forget"), when he re-discovered Jane, he finally understood what the real meaning of "Paris" was.

The town Paris, Texas was connected to Paris, France by name. The way i see it is that his father always embarrassed his mother when he said that his wife came from Paris. The key word relating to Paris in the story is "fancy". Travis said that "mom was not a fancy woman." It was impossible for his mother to come from Paris, France because she wasn't a fancy woman. But when Travis talked with Jane that first time and 1) saw her patience, 2) saw her willingness to listen, and 3) realized that Jane had never gone out with any other man, he considered Jane had matured a lot, and so considered her to be a fancy, or proper, woman, one who was worthy of taking care of Hunter. And so he had no problem giving him to Jane.

2) Heights: I mentioned before how Walt and Anne, by living/working high above the city, had isolated themselves. "Height" also had another meaning. After he got himself drunk and said that the place where he and Hunter were staying was not a place for a fancy woman, he moved Hunter to a high place in some hotel which was more worthy for Jane to stay. And the camera often strayed to show high objects. In this situation height also means "clearness." Remember when Travis met Walt high up to tell Walt that he was leaving to find Jane? He also said "it's nice up here; you can see things clearly." A high place was where he should bring Jane; that became very clear to him. Kind of like putting Jane on a pedestal where queens belong. Kind of like a "new Paris." More important than the old Paris with an empty lot.

3) A Road movie: this is clear from the lovely symmetry of the movie: Walt getting to know Travis again on their car journey West to California, Travis getting to know Hunter again on their car journey East to Texas, Travis sat in the back going West until the brothers were close again, Hunter sat in the back going East until they really became close again, Travis went West to meet his son for the first time in 4 years, then went East to meet his wife for the first time in 4 years, Travis was practical and earth-bound because he didn't like to fly, Hunter was a dreamer who talked about rockets and space travel.

4) A Feast for the Imagination: so many wonderful loose ends!!! Are these loose ends for us to think about re the characters?.. Well, for me, no. Rather, for us to think about re ourselves. Just think of these questions:

a) Should Walt have gone to get Travis?

b) Should Travis have gotten into Walt's car?

c) Should Anne have told Travis how to find Jane?

d) Should Walt have given Travis his credit cards and money?

e) Should Travis have allowed Hunter to go with him?

f) Should Travis have met Jane face-to-face?

g) Should Travis have left at the end of the film?

I'll bet that many of us would answer these questions differently, based on our own lives, loves, relationships, fears, money. Just substitute "Would I" for the first 2 words in each question. Paris, Texas is Everyman's film, no matter whether one is isolated or clearly involved, high above or down below, travelling to the East or to the West.

(本文作者為國立政治大學英文系退休教授 Rey Bianchi )

《巴黎德州》的評論 Part 2 by Rey Bianchi

Wim Wenders' Paris Texas (1984) (Part 2)

(commentary by Rey Bianchi (Wen Huei-Min), NCCU English Dept (retired))

Jane had isolated herself, partly because Travis had treated her so badly, yes, but also partly because she realized that she herself was one of the causes of the tragedy between herself and her husband. She ran too. She had never worked, so she felt she didn't have the means nor the maturity to care for Hunter.

Hunter was isolated by force of circumstances: that's where he found himself, with no real father o mother around...he accepted it, cause Walt and Anne were so good to him, but there was something missing. He didn't know what it was until his father came back. Even after his father came back, he couldn't know until they spent some time together. When Travis the Traveler said he was going to find Jane, Hunter thehunter said "what about me? I want togo too!....When are we going to go?

The big questions of the movie, which sentimental people ask are: why didn't Travis stay with his family? and Why leave Jane and Hunter alone?

Every one must answer these questions in his/her own heart. My answer (and only mine) is that he couldn't. He pretty much gave the answer in the tape recording to his son. He was afraid. Don't forget he had been away for 4 years, and before that had made a mess of his marriage. He had had no intention of going back to his family, and when he tried to fit in, tried to be a father again, when he re-discovered and loved his son "more than anything in the world," he was afraid. What would happen if he stayed with Jane and Hunter?...would the "real" Travis come out again? Out in the desert had he been planning to make a better life for himself in the future? No. He was running away from himself, and when he came back, he knew himself well enough that he still couldn't trust himself. He knew that much (we can see his effort at trying to find a "perfect" way to live when he polished and arranged the shoes so well, and when he tried to dress so well as a father should. But these ways were superficial).

If i ask will he find himself and go back to be with his family, i have missed the point. The writer/director gives no information about this. No two people will play out the plot of their lives in the same way. Oh, we can influence one another. Anne influenced Travis a lot by telling him where Jane could be found. And influences do change lives. It's interesting to note that in Anne's case, when trying to get rid of Travis so he wouldn't spend so much time with Hunter, she lost Hunter.

Jane. Jane is Hebrew for "God is gracious." Despite the sleezy type of work that Jane found herself in (we call it a "peep show" in English), she was working in what could be called a relatively harmless type of service. Whether she really helped men or not is again beside the point. The point for the author (to me) is that "every man's voice was your (Travis') voice." Every man who came to talk to her ("I'll listen. I have lots of time") was lost. It was too late, but in some way she was still trying to save Travis - to be gracious -through helping other men. Was she herself still lost? Well, you'll have to think about that....

Not seeing them was good. It was not important. She heard listened to, their voices. When Travis told his story to Jane, he didn't look at her. When Jane told her story to travis, she didn't look at him. The author is showing that the body is not always important in communication (I'll just take off my sweater." "No, no, no, no, no, no! don't"). It is the voice, the word which communicated. Jane was available to listen, to be there, to patiently be of service....this i believe is why Travis felt that Jane was ready to be a mother again.


(本文作者為國立政治大學英文系退休教授 Rey Bianchi )

《巴黎德州》的評論 Part 1 by Rey Bianchi

Wim Wenders' Paris Texas (1984) (Part 1)

(commentary by Rey Bianchi (Wen Huei-Min), NCCU English Dept (retired))

Harry Dean Stanton (Travis)

Nastassja Kinski (Jane)

Dean Stockwell (Walt)

Aurore Clement (Anne)

Hunter Carson (Hunter)

...as in any great work of art (the 7 major Art Forms are Music, Literature, Painting, Sculpture, Drama/Theater, Dance, and the newest addition, Film), the task of interpreting the work lies primarily with the viewer/audience. What did you get out of it? should be the question that the artist asks. The universality of a work, its greatness, is determined by the extent that it is identified with and appreciated by the greatest number of viewers/listeners.

Paris, Texas is great. It has been acclaimed both by audience and jury. It has something to say to all of us.

Whatever you get out of it should be different from what i got out of it. It tells its story, and we observe, and think, and reflect on how it has affected each one of us. What i have to say here is a reflection of what it means to me: what i got out of it for myself and for my relationship with others.

For me, it is a story of isolation. Walk and Anne were isolated, living high above the city, working high above the streets, playing out their own little lives as most people do...but it's kind of like every day, every year, was the same for them, repeated over and over (as depicted by Walt spinning that little top while he was

taking the plane to go and meet Travis).

Travis had isolated himself, in disgust over his own inability to love the way he should have, so in desperation he flung himself away from society, getting as far away from it as possible, never wanting to go back. He did not want to go back,

the further out he went, the farther away he got from the past. When Walt found him he had just about forgotten everything. He even escaped from Walt after Walt had found him. But deep down in his heart he was searching for something - probably himself - and he kept going on and on and on. One could say that he was wasting his life, but for me, he was a survivalist. He and Jane and Hunter were the survivalists in this story, and that's why they meant so much to each other.

(本文作者為國立政治大學英文系退休教授 Rey Bianchi )

[公告] 寫影評換海報，活動開始

寫影評，換海報

看完溫德斯的電影，內心充滿想法與感覺卻無處抒發？

即日起，將你看完溫德斯影展中任一部電影的心得，
以及對於影展的建議或想法，
寄到mysegments@gmail.com，就有機會得到影展海報一張。
注意：字數請在100以上，記得附上系級(服務單位)，姓名，e-mail。

如果影評被刊登在影展部落格上，或者收到e-mail通知，
請在影展時找電影社社長換取影展海報。

[公告] 愛麗絲漫遊記 (Alice in the Cities)字幕更改

很抱歉，因為影片格式的問題，10/07(二) 愛麗絲漫遊記 Alice in the Cities 將會是英文字幕。不變之處請見諒。(其實，片中對話不多且淺白，英文字幕也很容易瞭解。)歡迎各位前來觀賞。

電影社社長 彥仕

溫德斯的電影課在政大

大師論壇室

時間：10/31(五) 15:00-17:00

地點：政治大學傳播學院劇場

對談：溫德斯導演VS.侯孝賢導演VS.【一頁台北】導演陳駿霖

主持：政大廣電系 陳儒修教授

德國新電影大師溫德斯與台灣新電影之父侯孝賢，當代最受尊崇的兩位導演，在行過數十年的電影路後，重新回溯創作美好的初啟：為什麼要拍電影？而憑藉著純粹無瑕的勇氣和夢想，他們一路開創新的電影語言，一再超越自己、超越觀眾……拍電影，真的有那麼好玩？而【一頁台北】導演陳駿霖，是如何跟隨著大師們的腳步，一頭栽進電影這個行業？（報名需加駐相關科系或職業）

大師工作坊

時間：10/31(五) 19:00-21:00

地點：政治大學傳播學院劇場

主持：政大廣電系 郭力昕教授

20歲的溫德斯，放棄醫學與哲學學業，滿腔熱情想當個畫家，卻沒有考上巴黎的藝術學校，那段時間窩在法國電影圖書館看了上千部電影，從此對電影著了迷。充滿行動力的溫德斯，除了成立公司做製片、當導演之外，還寫影評、攝影，更到大學裡教書……，非正統電影訓練出身，卻成為舉世傾慕的大導演。在千載難逢的溫德斯電影學堂，歡迎你前來聆聽與發問。（報名需加駐相關科系或職業、想問溫德斯的一個問題）

報名方式：
本次溫德斯在政大的所有活動，都在原子映像有限公司的網站上的系統報名。
請密切注意 http://www.atomcinema.com/wenders/

[公告] 溫德斯電影人數限制

因為第一場溫德斯影展人數過多，導致觀影品質下降，故即日起溫德斯影展每場限制70入場。每一場影片放映的晚上六點，在水岸咖啡門口發放號碼牌。六點十五分開放進場。

如有不便敬請見諒。


電影社 社長 彥仕

[短片] War in Peace

2007年慶祝坎城影展六十週年而製作的短片集《To Each His Own Cinema》，從世界各地找了36位著名的導演，用3分鐘展現出他們心中的電影院。這個〈War in Peace〉是溫德斯的部份。 溫德斯影展並未安排此短片，所以就在部落格上跟大家分享。

[短片] Twelve Miles to Trona

這個短片是溫德斯在《Ten Minutes Older: The Trumpet》中的部份，名為〈Twelve Miles to Trona〉。其他的導演像是Jim Jarmusch、Werner Herzog、陳凱歌，都也有自己的作品。因為此片過短，所以並沒有在溫德斯影展中播放。但這短短十分鐘的短片依舊很精采，剛好在土豆網上找到，就放在這裡跟大家分享。

[閱讀] 和安東尼奧尼一起的時光

• 作者：文．溫德斯
• 原文作者：Wim Wenders
• 譯者：李宏宇
• 出版社：大田
• 出版日期：2007年10月01日

生命對我而言只意味著一件事：拍電影。－－米開朗基羅．安東尼奧尼

　　回顧這一天，我記起有幾次他的眼裡閃著淚光。
　　當一個鏡頭拍攝如他所期望地實現，
　　或是在一些誤解之後我們終於明白他的要求，
　　他就會感動。

　　甚至在準備階段，他眼裡的潮濕經常是我們方向一致的信號。
　　看到這個驕傲和「貴族氣」的男人，
　　一生中從不流露軟弱的跡象，現在卻是如此易感，有時那麼不堪，
　　這該讓我們都去思索一下自己的「堅強」。－－溫德斯

　　兩位電影大師、兩個獨立而頑強的靈魂，
　　在思想上碰撞，在藝術表現上激盪衝突，是電影史上獨一無二的生命交流……
　　「雲端上的情與慾」拍攝日記

米開朗基羅．安東尼奧尼（Michelangelo Antonioni）

　　世界著名電影導演。義大利二十世紀四Ｏ年代新現實主義電影的先驅者之一，曾被巴贊稱作「心理新現實主義」的代表人物。其做作品著重描繪中產與富裕階層人們的精神失落與荒蕪，以及在生活中充斥著焦慮的情狀，影片敘述常常以非戲劇性的衝突的人物心緒來鋪陳。

　 　安東尼奧尼1912年出生於義大利北部城市費拉拉。1939年他來到羅馬的電影學院學習導演理論與拍攝，1940年擔任羅馬權威電影雜誌《電影》編輯， 不久因為政治運動遭到解職。後曾擔任法國導演馬塞爾．卡內爾的助手，也為羅西里尼和費里尼寫過腳本。1943年他以第一部記錄片「波河的人們」奠定了新現 實主義的先鋒地位。1950年拍攝處女作「情事」，這部電影被評介為「暗示新現實電影將給義大利新氣息」。1960年，他執導具有新穎風格和充溢現代感悟 的「夜」

　　在坎城影展轟動國際。1964年他的第一部彩色片「紅色沙漠」獲威尼斯金獅獎。安東尼奧尼創造性的運用色彩作為這部影片的一個 元素，被評論家認為「紅色沙漠」是電影史上第一部真正意義上的彩色片。1972年，作為關注學生運動的一名左翼義共導演，安東尼奧尼來到正處於「文革」期 間的中國，拍攝了大型紀錄片「中國」。1985年以後安東尼奧尼因病很少拍片。直到十年後，他在溫德斯的協助下完成了寂靜迷人的「雲端上的情與慾」。

　　2004年，已逾九十高齡的安東尼奧尼仍繼續履行著他人生信條，「拍電影是我唯一的生存方式」，與王家衛、索德伯格聯合導演最新作品「愛神」(Eros)。

　　2007年七月三十日辭世，享年94歲。

(以上引用自博客來網路書店)

[金馬影展] 帕勒摩獵影 The Palermo Shooting

帕勒摩獵影 The Palermo Shooting

導演 : 文溫德斯(Wim Wenders)

國別 : 德

年份 : 2008

片長 : 120min

規格 : 35mm

得獎紀錄 : 2008坎城影展競賽片


影片介紹

世界頂尖攝影師芬恩，享受著上流生活的卓越，直到人生出現大逆轉，讓他拋下一切遠行，來到西西里島首都帕勒摩。在這座古城，芬恩屢遭神祕狙擊；一路 驚險的旅程中，他卻意外邂逅真愛，人生頓時開啟新頁…國際名導文溫德斯再度集合宿命、愛情、神話等元素，主角迎向命運，交織出兼具驚人影像和抒情詩意的奇 遇旅程，對於生命的價值，文溫德斯始終有獨特的詮釋。

The film follows a German photographer (played by Campino, singer of German punk band Die Toten Hosen) who comes to Palermo because he needs to make a clean break from his past. In the city he meets a young woman and a completely different way of life.

11/10 (一) 日新威秀 1廳 13:00
11/17 (一) 日新威秀 1廳 10:30
11/19 (三) 日新威秀 1廳 22:40

金馬影展網站

[閱讀] 一次：影像和故事

• 作者：溫德斯/著
• 原文作者：Wim Wenders
• 出版社：田園城市
• 出版日期：2005年05月01日
• 語言：繁體中文 ISBN：9867705734

　　當代電影中最偉大的藝術心靈之一的德國大導演溫德斯，於其電影中展現了獨具的智慧、創造力及敏感性，其電影已超越了語言及國界。在本書中，溫德 斯將同樣的文學詩意及電影般的場景帶入此一攝影性散文中，它同時也是一本旅行日記、攝影相簿，更是這位導演透過他的詩意之眼捕捉出日常生活一些隱藏著的片 段，以如詩般的旋律訴說著他的心境及看法，鋪陳出了一系列短片般的短篇故事。

　　 “有一次……”，童話總是這樣開始。溫德斯在這本簡潔優雅的攝影文集中，以文字與影像串搭如同隨興的抒情詩一般。二百多幀的照片、四十多段的日記式散文隨 筆，是溫德斯在世界各地影片拍攝時或堪景時的旅途中記錄下來的各種經歷，尋常或不尋常的。旅行散文和照片日記合二為一，真實的旅行和選景拍攝的工作隨感、 平常生活諸如五百年歷史的阿爾卑斯山農莊小屋、街頭流浪人……書中旅途遍及世界各地：美國、澳洲、日本、峇里島、冰島、俄國、南非等等，其中有許多世界電 影大師和同行故事，如黑澤明、高達、大島渚、馬丁．史柯西斯等等，映照出電影銀幕之外真實的一面。

　　溫德斯曾說過：“每一幅圖片都可以是 一部電影的第一個鏡頭。”正說明了這本圖片日記集的風格——影像優美，滿溢生命力和豐富意涵，文筆真摯令人難忘。對溫德斯而言，觀看的詩意和敘述的旋律都 屬於其藝術創造裏決定性的部分，《一次》敘述了一個電影人與世界的相遇、看法和印象，更是溫德斯坦言的心愛之作。(以上引用自博客來網路書店)