The Sympathizer 103 "If only we were still in Vietnam, where you could torture civilians with impunity, right?" 這集好好看。感覺朴贊郁尖銳的地方全跑出來了，他的黑色幽默和動作戲的運鏡加起來殺傷力好高。壽宴那邊也......台灣人看起來應該既視感很重。喜歡阮清越這集客串壽宴攝影師，從原作轉化成留下影像紀錄的角色。還有他的那句「誰去把迪斯可球燈關掉？」的言外之意 XDDDDDD 後面有一段審問戲更看得出朴贊郁最擅長安排的角色-鏡頭-觀眾關係。這部不敢說美國白人觀眾看得懂，但應該至少有些韓國人可以共鳴？他們對美國介入國家的感覺應該比較像主角。
"[And] that is the same with all quilts, you can see them two different ways, by looking at the dark pieces, or else the light." 欸，之前沒發現這句和使女的末尾有多像。 "And so I step up, into the darkness within; or else the light."
"In order to determine the moment at which the mutation in discourse took place, we must look beyond its thematic content or its logical modalities to the region where ‘things’ and ‘words’ have not yet been separated, and where—at the most fundamental level of language—seeing and saying are still one."
"Whether or not women who were labeled "hysterical" were associated with the women's movement, they were often seen by doctors as resistant to or critical of marriage, and as strangely independent and assertive.
These characteristics are most vividly present in the Viennese women dissected by Breuer and Freud, but English physicians like Skey and Bryan Donkin also commented on the intelligence and ambition of their hysterical patients. Any woman manifesting symptoms of hysteria aroused suspicions of a silent revolt against her domestic, class, and reproductive role.
Thus nervous women received much more attention than nervous men, and were labeled as "hysterical" or "neurasthenic" in the contexts of a highly charged rhetoric about the dangers of higher education, women's suffrage, and female self-assertion in general." 有的人用病當反抗，有的人生病被當反抗。
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The Sympathizer 107 Nothing is more important than independence and freedom. 不行了我被擊沉了。那個語言切換的瞬間超痛啊啊啊 (我知道水在越南電影是一個主題，不過美國影視的亞裔移民和水是不是也有什麼意象啊？這部結局那幕會讓我想到The Terror S2。)
李石樵也太慘。才剛讀到他三美圖1970年代印在火柴盒被人檢舉妨害風化，現在橫臥裸婦當展覽主視覺又被檢舉？
"If only we were still in Vietnam, where you could torture civilians with impunity, right?"
這集好好看。感覺朴贊郁尖銳的地方全跑出來了，他的黑色幽默和動作戲的運鏡加起來殺傷力好高。壽宴那邊也......台灣人看起來應該既視感很重。喜歡阮清越這集客串壽宴攝影師，從原作轉化成留下影像紀錄的角色。還有他的那句「誰去把迪斯可球燈關掉？」的言外之意 XDDDDDD
後面有一段審問戲更看得出朴贊郁最擅長安排的角色-鏡頭-觀眾關係。這部不敢說美國白人觀眾看得懂，但應該至少有些韓國人可以共鳴？他們對美國介入國家的感覺應該比較像主角。
(話說韓國沒有HBO，韓國人不用VPN目前看不到這部欸......)
欸，之前沒發現這句和使女的末尾有多像。
"And so I step up, into the darkness within; or else the light."
新的志異期刊！目前正在徵稿。
有的人用病當反抗，有的人生病被當反抗。
7/10報名截止。
當時的主展是Georgia O’Keeffe和Henry Moore的比較，很有趣的主題。
看了那場覺得之前有人把Peele的Nope!和O'Keeffe的畫搭在一起不是沒原因的。
整集是和現代啟示錄的互文。這部的黑色幽默完全是我的菜。
Taking Revenge Against Coppola's "Apocalypse Now" - ...
作者談書。
05/27(一) 12:00-13:30 (線上)
報名網址
期待這場。
以愛為名和通姦契約都很好看。
6/7 13:10-15:00
線上網址
Volume 44, Issue 3 (2022) Horror Grows Up?
Lantern is the search platform for the collections of the Media History Digital Library. The Media History Digital Library (MHDL) digitizes collections of classic media periodicals that belong in the public domain for full public access.
6/24（一） 9:00-18:00
報名網址
《毋甘願的電影史》：檔案熱潮如何點燃／澆熄我們的好奇心
6/11(二) 12:00 -13:30
報名網址
還有「認同」的呈現的確是很困難的一件事，但影集的運鏡和敘事技巧其實是可以幫忙的。這部似乎沒有意識到影集本身有這個能力。文字和影視是有差別的，他從編劇出發在解釋的點有點突顯一些文字而非影視的特色。
Nothing is more important than independence and freedom.
不行了我被擊沉了。那個語言切換的瞬間超痛啊啊啊
可以問老王比較喜歡小說還是影集嗎？就只是好奇，因為那天稍微看了小說，覺得有差。
覺得The Sympathizer最後一集就某方面拍出了一直很期待勒卡雷作品影視改編時可以呈現的那種虛無。那種因為曾經誠心對國家對體制獻出一切換來的虛無。目睹的瞬間真可怕。但有這樣的作品看起來也很開心。
唉。錢德勒的散文用字感就是翻不過來。一翻過來來不是太文言，就是太瑣碎。
via
這種句子超級錢德勒。
欸？？？好像有哪裡怪怪的？