1

一一重構：楊德昌 國際論壇

國際論壇
07.22-07.23, 2023

臺北市立美術館視聽室
Auditorium, Taipei Fine Arts Museum

International Forum on

國際論壇

07.22-07.23, 2023
臺北市立美術館視聽室
Auditorium, Taipei Fine Arts Museum

共同主辦 Organizers

目錄Contents
議程Agenda02

簡介
Introduction

06

電影與美術館

Film and Art Museums
專題演講 I

如何展示電影？
Keynote Speech I How to Expose Cinema?

11

座談 I 電影策展與展覽
Film
Curationand Exhibition
Panel Discussion I

19

座談 II 電影藝術與跨領域
Film Art and Interdisciplinarity

29

Panel Discussion II

楊德昌的電影世界

The Cinematic World of Edward Yang

楊德昌，十字路口上的先知
Keynote Speech II Edward Yang, a Visionary at the Crossroads

39

座談 III 楊德昌的電影革命’s Cinematic Revolution
EdwardYang
Panel Discussion III

47

楊德昌的當代遺贈

57專題演講 II

座談 IV

Panel Discussion IV The Legacy of Edward Yang

2

7 / 22(六)電影與美術館
10:00-10:30

10:30-10:40

10:40-10:55

10:55-12:00

報到致詞臺北市立美術館館長

引言王俊傑

臺北市立美術館館長

I

專題演講

主持人

孫松榮

如何展示電影？
亞普・古德蒙主持人
與談人

電影策展與展覽王君琦

芭芭拉・米勒李焯桃

東華大學英美語文學系副教授
紐約動態影像博物館策展事務副總監
東京都寫真美術館動態影像部門策展人
香港電影評論學會董事局主席、
M+博物館香港電影及媒體外聘策展人茶敘II
15:30-17:00

荷蘭EYE電影博物館展覽總監

座談

田坂博子

15:00-15:30

臺北藝術大學藝術跨域研究所暨
電影創作學系合聘教授

午餐

I
13:30-15:00

國家電影及視聽文化中心執行長

王俊傑

主講人
12:00-13:30

李智仁

主持人
與談人

座談

電影藝術與跨領域
王俊傑
榮念曾
姚瑞中
鴻

鴻

臺北市立美術館館長
藝術家、進念・二十面體聯合藝術總監
藝術家、策展人、藝評人
詩人、電影與劇場編導

7 / 233(日)

楊德昌的電影世界
10:00-10:40

報到

10:40-10:55

引言

孫松榮

II

專題演講

主持人

孫松榮

10:55-12:00

主講人
12:00-13:30

楊德昌，十字路口上的先知尚−米榭爾・弗東主持人
與談人

楊德昌的電影革命
黃建業
舒

琪

陳以文

15:30-17:00

巴黎政治學院副教授、
蘇格蘭聖安德魯斯大學榮譽教授

座談

陳湘琪

15:00-15:30

臺北藝術大學藝術跨域研究所暨
電影創作學系合聘教授

午餐

III
13:30-15:00

臺北藝術大學藝術跨域研究所暨
電影創作學系合聘教授

影評人、電影學者
影評人、電影導演
電影與劇場演員、臺北藝術大學
電影創作學系及劇場設計學系教授
影視與劇場演員、編劇、導演

茶敘

IV

座談

主持人

林木材

與談人

＊ 本場次中英日同步口譯楊德昌的當代遺贈
陳駿霖
阮鳳儀

濱口龍介

國家電影及視聽文化中心研究策展處處長
電影導演
電影導演
電影導演

7 / 22
Film and Art Museums

4

(Sat)

10:00-10:30

Registration

10:30-10:40

Opening
Remarks

Chih-Jen LEE
Jun-Jieh WANG

Director, Taipei Fine Arts Museum

10:40-10:55

Introduction

Jun-Jieh WANG

Director, Taipei Fine Arts MuseumI
10:55-12:00

12:00-13:30

Keynote Speech

How to Expose Cinema?

Moderator

SING Song-Yong

Speaker

Jaap GULDEMOND Director of Exhibitions,

Eye Filmmuseum in Amsterdam

Panel Discussion

Film Curation and Exhibition

Moderator

Chun-Chi WANG

Panelists

Barbara MILLER
Hiroko TASAKA
LI Cheuk-to

15:00-15:30

Associate Professor, English Department,
National Dong Hwa University
Deputy Director for Curatorial Affairs,
Museum of the Moving Image in New York
Curator, Department of Moving Image,Tokyo Photographic Art Museum
Board Chairman, Hong Kong Film Critics Society;
Curator, Hong Kong Film and Media, M+ Museum

BREAK

II
15:30-17:00

Professor, the Graduate Institute of Trans-disciplinary
Arts and Department of Filmmaking, Taipei National
University of the Arts

LUNCH

I
13:30-15:00

Director, Taiwan Film and Audiovisual Institute

Moderator
Panelists

Panel Discussion

Film Art and Interdisciplinarity
Jun-Jieh WANG
Danny YUNGYAO Jui-Chung
Hung Hung

Director, Taipei Fine Arts Museum
Artist; Co-Artistic Director of Zuni Icosahedron
Artist; Curator; Art Critic
Poet; Director of Film & Theater

7 / 23
The CINEMATIC Worldof Edward Yang
(Sun)

10:00-10:40

Registration

Introduction

SING Song-Yong

10:40-10:55

II
10:55-12:00

12:00-13:30

Keynote Speech

Edward Yang, a Visionary
at the Crossroads

Moderator

SING Song-Yong

Speaker

Jean-Michel FRODON

Moderator

Associate Professor, Sciences Po Paris;
Honorary Professor, University of St.
Andrews, Scotland

Panelists

Panel Discussion

Edward Yang’s Cinematic Revolution
Edmond WONGSHU Kei
Shiang-chyi CHEN
Yi-Wen CHEN

15:00-15:30

Professor, the Graduate Institute ofTrans-disciplinary Arts and Departmentof Filmmaking, Taipei National Universityof the Arts

LUNCH

III
13:30-15:00

Professor, the Graduate Institute ofTrans-disciplinary Arts and Departmentof Filmmaking, Taipei National Universityof the Arts

Film Critic; Film Scholar
Film Critic; Film Director
Actress; Professor, Department ofTheatrical Design & Technology andDepartment of Filmmaking,Taipei National University of the Arts
Actor; Playwright;
Director of Film & Theater

BREAK

IV
Moderator

Panel Discussion

The Legacy of Edward Yang
＊ Simultaneous interpretation in Mandarin, English and Japanese provided

Wood LIN

15:30-17:00

Panelists

Arvin CHEN
Feng-I Fiona ROAN
Ryusuke HAMAGUCHI

Supervisor, Division of Researchand Program, Taiwan Film andAudiovisual InstituteFilm Director
Film Director
Film Director

56「一一重構：楊德昌」國際論壇

簡介

近年來，電影展覽在全球藝壇崛起，各大博物館與美術館興起一股
電影導演、藝術家及策展人，以電影之名結合當代藝術展映的浪潮。
比起偏重靜態與檔案式的傳統展示手法，電影展覽一方面側重影片與導演在歷史、美學及科技等面向上的重要成就；另一方面，凸顯
影片展映形態與當代藝術之間的對話。美術館的電影展覽在展呈電
影檔案文物與史料時，箇中關鍵，在於如何重新視聽化與形象化影
片，讓觀眾走入電影世界內，經驗聲、光、空間等造形向度，而在身、
心理與知識等層面上重新認識電影。
舉世皆知，楊德昌導演作為臺灣電影新浪潮健將，一生共有一部電視 單 元 劇（《 浮 萍 》）、 七 又 四 分 之 一 部 電 影（ 由《 指 望 》 至《一一》），及四齣劇場作品（《如果》、《成長季節》、《九哥與老七：九七狂想》、《實驗莎士比亞：李爾王》）流傳於世。他
以饒富創造力的影音美學及精彩絕倫的批判視域，凸顯都市人的生
活情狀及對現代性的體驗，表現手法總是大膽、慧黠及創新，由此賦予臺灣電影在都市再現、性別權力、政治反思、歷史暴力、社會變遷及多重媒介等面向上特有的時代形貌。當然，令人印象深刻的
還有，楊氏對於建築、音樂、繪畫、文學、劇場等領域享有的特殊品味。

7

案文物，予國家電影及視聽文化中心進行整飭與數位化工作。這批檔案文物由日記至隨筆、由信件至手稿、由照片至視聽帶，銘刻著
已故導演各個生命階段的特殊秉性與重要印記。為了讓這些彌足珍
貴的檔案文物公之於眾，致使楊德昌導演精神獲得更廣泛而深入的認識，國家電影及視聽文化中心與臺北市立美術館攜手合作，由臺
北市立美術館王俊傑館長及臺北藝術大學孫松榮教授共同策劃，彭鎧立女士擔任首席創意顧問，首次策劃向這位崛起於「新電影」、
立足世界藝術電影的臺灣導演致敬的大型電影展覽。此展以嶄新觀點，融合動畫、攝影、裝置、錄像、劇場、聲音等跨域形式展示其
作品，讓世人重新認識這位臺灣電影大師的生命創作史及其時代，
以彰顯他在世界影史的關鍵地位，與對未來世代持續性的影響力。
架置於上述背景，本次為期二日的國際論壇便設定「電影與美術
館 」 與「 楊 德 昌 的 電 影 世 界 」 二 大 主 題， 分 別 邀 請 荷 蘭 E Y E 電

影 博 物 館（Eye Filmmuseum）資深策展人 亞普． 古德蒙（ Jaap

Guldemond），及法國《電影筆記》前主編、知名電影學者尚−米榭爾・ 弗東（ Jean-Michel Frodon）進行專題演講。此外，亦組構「電影策展與展覽」、「電影藝術與跨領域」、「楊德昌的電影革命」
及「楊德昌的當代遺贈」四場座談，邀集國內外具有豐富經驗的策
展人、不同領域的藝術創作者、評論人、學者，及青壯世代電影導演，
藉由對談讓我們更深刻理解楊德昌的電影藝術與他的時代，及美術館對於動態影音藝術所展開的獨特展呈與當代觀點。

一一重構：楊德昌 國際論壇

2019 年，楊德昌導演遺孀彭鎧立女士寄存一批為數上萬件的導演檔

8International Forum on
Edward Yang
Introduction
In recent years, film exhibitions have gained prominence in the global art
scene. Major museums and art galleries, collaborating with filmmakers,
artists and curators, have given rise to a wave of showcasing films as
part of contemporary art exhibitions. Unlike the traditional exhibitions
which focus on static and archival displays, film exhibitions emphasize
the significant achievements of films and filmmakers in terms of history,
aesthetics, and technology, while highlighting the dialogue between theform of film exhibitions and contemporary arts. When showcasing filmarchival materials at art museums, the key lies in the re-audiovisualization
and re-figuration of films to allow the audience to immerse themselves in
the cinematic world to experience sound, light, space and other perceptual
dimensions and have a renewed understanding of films on physical,
psychological, and intellectual levels.
As is well known, Edward Yang, a key figure of “Taiwanese New Wave,”has created a remarkable oeuvre, comprising of one episode of television
drama series (“Fuping [Floating Weeds]”), seven and a quarter featurefilms (from Xiwang [Expectations] to Yi Yi), and four theatrical productions(Likely Consequence , Growth Period , Brother Nine and Old Seven - A ‘97
Fantasy , and King Lear - Experimental Shakespeare ). Through his highly
imaginative audio-visual aesthetics and incisive critical perspective, Yang's
works showcase the living conditions of urbanites and their experienceswith modernity. His techniques are often bold, witty, and innovative,
imparting unique temporalities to Taiwanese cinema with respect tourban representation, gender politics, political critique, historical violence,social change, and multimedia aspects. In addition, Yang's works arecharacterized by his particular appreciation for architecture, music,
painting, literature, theater, and other fields.

9

In light of this context, a two-day international forum is set to focus on
two main themes: “Film and Art Museums” and “The Cinematic World of
Edward Yang.” Esteemed guests Jaap Guldemond, a senior curator at the
Eye Filmmuseum in the Netherlands, and Jean-Michel Frodon, a renowned
film scholar and former head editor of Cahiers du cinéma in France areinvited to give keynote speeches. In addition, four panel discussions on
topics of “Film Curation and Exhibition,” “Film Art and Interdisciplinarity,”“Edward Yang’s Cinematic Revolution” and “The Legacy of Edward Yang”
are scheduled, bringing together experienced curators, artists from various
fields, critics, scholars, and young filmmakers from home and abroad.
Through these discussions, it is hoped that a deeper understanding of
Edward Yang’s cinematic art and his era, and the unique presentation andcontemporary perception of dynamic audiovisual art in art museums, canbe achieved.

一一重構：楊德昌 國際論壇

In 2019, Edward Yang’s widow, Ms Kaili Peng deposited a collection ofover 10,000 archival materials with Taiwan Film & Audiovisual Institute forrefinement and digitalization. These archival materials, including diaries,
essays, letters, manuscripts, photographs, and videotapes, bear uniquecharacteristics and important marks of the various stages of the latedirector’s life. In an effort to bring these invaluable archival documents
to the public and to gain a broader and deeper understanding of Edward
Yang’s artistic vision, Taiwan Film & Audiovisual Institute joins hands with
Taipei Fine Arts Museum, co-curated by the director of TFAM Jun-Jieh Wangand Professor Sing Song-Yong of Taipei National University of the Arts, with
Ms Kaili Peng as the chief creative consultant, to organize the first major
film exhibition honoring this director who rose to fame in the “Taiwanese
New Wave” and established himself in the world of art cinema. This
exhibition presents a fresh perspective on the works of Edward Yang by
integrating various interdisciplinary forms such as animation, photography,
installations, video, theater, and sound. The goal is to provide a renewed
understanding of the life and creative history of this filmmaker and his
era, highlighting his crucial position in world film history, and his lasting
influence on future generations.

10Keynote Speech

如何展示電影？

How to Expose Cinema?

主持人

孫松榮

臺北藝術大學藝術跨域研究所暨電影創作學系合聘教授主講人

亞普．古德蒙荷蘭 EYE 電影博物館展覽總監

Moderator

SING Song-Yong

Professor, the Graduate Institute of Trans-disciplinary
Arts and Department of Filmmaking, Taipei National
University of the Arts
Speaker

Jaap GULDEMOND

Director of Exhibitions, Eye Filmmuseum in
Amsterdam

一一重構：楊德昌 國際論壇

I

11
專題演講

12

主持人

孫松榮
法國巴黎第十大學表演藝術研究所電影學博士，國立臺
北藝術大學藝術跨域研究所、電影創作學系合聘教授。
現任《藝術評論》主編與《中外文學》編委。曾任財團

法人國家電影中心董事、《藝術觀點 ACT》雜誌主編與
召集人、台新藝術獎觀察人，以及「共時的星叢：『風車詩社』與跨界域藝術時代」、「不只是歷史文件：港台錄像對話 1980-90s」、「啓視錄：臺灣錄像藝術創世紀」、第八屆台灣國際紀錄片雙年展「紀錄之蝕：影像
跨界的交會」策展人等。主要研究領域為現當代華語電影美學研究、電影與當代藝術，及當代法國電影理論與
美學等。專著《入鏡丨出境：蔡明亮的影像藝術與跨界
實踐》（2014），編著《蔡明亮的十三張臉：華語電影研究的當代面孔》（2021）與《未來的光陰：給臺灣新
電影四十年的備忘錄》（2022）等。

*「一一重構：楊德昌」回顧展策展人13

SING Song-Yong
Sing Song-Yong graduated with a Ph.D. in cinematography
from the Institute of Performing Arts, Université Paris Ouest Nanterre La Defence, France (today’s Université Paris Nanterre).
He currently serves as a Professor in the Graduate Institute ofTrans-disciplinary Arts and the Department of Filmmaking at
Taipei National University of the Arts. Sing is Chief Editor at Arts
Review and serves on the editorial board of Chung-Wai LiteraryMonthly . He has served as a board member of the Taiwan Filmand Audiovisual Institute, Chief Editor and Chairman of ACT Art
Critique of Taiwan magazine, and a nominator for the Taishin
Arts Award. Sing also curated the exhibitions “ Synchronic
Constellation—‘Le Moulin Poetry Society’ and Its Time: A CrossBoundary Exhibition,” “(Not) Just a Historical Document: Hong
Kong-Taiwan Video Art 1980-1990s,” “Rewind—Video Art in Taiwan
1983-1999,”and“The Eclipse of Documentary: The Transdisciplinary
Intersection of Images ” for the Eighth Taiwan International
Documentary Festival. His main areas of research are theaesthetics of modern and contemporary Chinese-language films,
contemporary art and cinema, and contemporary French film
theory and aesthetics. He authored Projecting Tsai Ming-Liang:
Towards Transart Cinema (2014) and served as editor for Thinking
with Tsai Ming-Liang: 13 Faces of Contemporary Chinese Cinema
Studies (2021), and The Future of Time: Memos for 40 Years of
Taiwan New Cinema (2022).
* Curator of A One and A Two: Edward Yang Retrospective

一一重構：楊德昌 國際論壇

Moderator

14

主講人

亞普．古德蒙荷蘭阿姆斯特丹 EYE 電影博物館展覽總監暨總策展人。
自 2012 年 EYE 電影博物館新館落成啟用後，古德蒙已規劃多項展覽方法新穎、探索視覺藝術和電影領域二者相結合的展覽。諸如安東尼奧尼、塔可夫斯基、王兵、貝拉．
塔爾、奎氏兄弟和其他眾多電影導演作品，以及如威廉．
肯特里奇、池田亮司、艾薩克．朱利安、楊福東、香妲．
艾克曼、阿比查邦．韋拉斯塔古、法蘭西斯．艾利斯等
藝術家的展覽。在擔負 EYE 電影博物館策展人工作之前，
古德蒙曾在多個荷蘭現、當代美術館擔任總策展人，包括恩荷芬的凡艾伯當代美術館、鹿特丹的克勒勒米勒博
物館和范伯寧恩美術館。他過去已出版眾多展覽專輯和專文撰述，2001 年曾任威尼斯雙年展荷蘭館總策劃。

15

Jaap GULDEMOND
As Director of Exhibitions/Chief Curator, Guldemond is responsible
for programming and curating the exhibitions at the Eye
Filmmuseum in Amsterdam. Since the completion of the newmuseum building in 2012 Guldemond has curated the various
exhibitions at the Eye Filmmuseum, in which he has explored
new and different ways to combine the visual art field and thefield of cinematography, such as Michelangelo Antonioni, Andrei
Tarkovsky, Wang Bing, Béla Tarr, the Quay Brothers, and manyothers, alongside exhibitions of artists like William Kentridge,
Ryoji Ikeda, Isaac Julien, Yang Fudong, Chantal Akerman,
Apichatpong Weerasethakul and Francis Alys. Before working at
the Eye Filmmuseum, Guldemond worked as Chief Curator atseveral Dutch museums for Modern & Contemporary Art like the
Van Abbemuseum, in Eindhoven, the Kröller Müller Museum andthe Museum Boijmans Van Beuningen in Rotterdam. Throughout
his career he has published many catalogues and articles and in2001 he was responsible as Commissioner for the Dutch Pavilion
at the Venice Biennial.

一一重構：楊德昌 國際論壇

Speaker

16

演講摘要

如何展示電影？
在演講中，我將探討一些關於「如何展示電影？」的想法和議題。在1990 年代和 2000 年代，所謂的新錄像藝術興起的時刻，我曾經在荷蘭幾個當代藝術博物館工作，有機會和多位傑出的年輕「錄像藝術家」

合作。當中包括道格拉斯．戈登（Douglas Gordon）、皮耶．雨格（Pierre Huyghe）、艾亞．麗莎．阿提拉（Eija Liisa Ahtilla）、大衛．
克拉耶伯（David Claebout）等人。

2010 年，我受邀在阿姆斯特丹全新落成啟用的荷蘭電影館（即 EYE 電
影博物館前身），規劃一項展出計畫。在當時，許多視覺藝術家運用
了電影或錄像的媒介，但同時也有一個較不顯著的反向趨勢：電影工
作者在發掘展出空間的可能性。因此，在新的電影博物館裡，我開始
思考電影界作品和藝術界作品之間的異同。我決定把博物館的展覽策
劃重點放在視覺藝術與電影的交集處，或者，換一個說法：在此處視
覺藝術遇上了電影，電影也和視覺藝術交會。
在我的演講裡，我會談論上述的議題，但重點會放在如何展示電影，及如何為電影導演的作品進行展覽。也因此我將討論過去我為EYE 電影博物館所構思的一些展覽，包括安東尼奧尼（Michelangelo
Antonioni）、 貝 拉． 塔 爾（Béla Tarr）、 塔 可 夫 斯 基（Andrei

Tarkovsky）、艾薩克．朱利安（Isaac Julien）、阿比查邦．韋拉斯塔古（Apichatpong Weerasethakul）等人的作品。

17

How to expose cinema?
In my lecture, I will address some ideas and issues about “how to expose
cinema?”. Having been working for several Dutch museums for contemporary
art in the 1990’s and 2000’s in which the so-called new video art emerged,
I have had the opportunity to work with several outstanding young “video
artists” at the time. Artists as Douglas Gordon, Pierre Huyghe, Eija Liisa Ahtilla,
David Claerbout and so on.
Being asked in 2010 to start an exhibition program in the brand new buildingof the former Dutch cinématèque, the Eye Filmmuseum in Amsterdam, in atime where many visual artists were using the medium of film or video, there
was a less visible movement also the other way round: film makers discovering
the possibilities of the exhibition space. Therefore, working in a new film
museum, I started to think about the differences and similarities between
artistic works coming from the film world and artistic works coming from theart world. I decided to focus the exhibition programming of the museum on
the intersection between visual art and film, or in other words, where visual art
meets film, and where film meets visual art.
In my lecture I will talk about above mentioned issues, but I will focus on the
problems about how to expose cinema, how to make an exhibition on thework of a film director. Thereby I will talk about some exhibitions that I haveconceived for the Eye Filmmuseum on among others Michelangelo Antonioni,
Béla Tarr, Andrei Tarkovsky, Isaac Julien and Apichatpong Weerasethakul.

一一重構：楊德昌 國際論壇

Abstract

18

Panel Discussion

電影策展與展覽Film Curation and Exhibition

主持人

王君琦

東華大學英美語文學系副教授
與談人

芭芭拉．米勒紐約動態影像博物館策展事務副總監

田坂博子

東京都寫真美術館動態影像部門策展人李焯桃

香港電影評論學會董事局主席
M+ 博物館香港電影及媒體外聘策展人

Moderator

Chun-Chi WANG

Associate Professor, English
Department, National Dong Hwa
University
PANELISTS

Barbara MILLER

Deputy Director for Curatorial
Affairs, Museum of the Moving
Image in New York

Hiroko TASAKA

Curator, Department of Moving
Image, Tokyo Photographic Art
MuseumLI Cheuk-to

Board Chairman, Hong Kong Film
Critics Society;
Curator, Hong Kong Film andMedia, M+ Museum

一一重構：楊德昌 國際論壇

I

19
座談

20

主持人

王君琦
美國南加大電影電視學院批判理論研究（現為影藝學院電影
及媒體研究）博士，現為國立東華大學英美語文學系副教授。
近年研究領域為臺語片研究、性別與電影、影像與社會實踐。
曾任國家電影及視聽文化中心執行長、女性影像學會理事長、台灣國際女性影展主席，並多次擔任國際影展選片人及評審。研究論著散見於《文化研究》、《女學學誌》、《藝術學研究》、《Journal of Chinese Cinemas》等國內外專
業 期 刊， 以 及 包 括《Routledge Handbook of East Asian

Gender Studies 》、《 Thirty-two New Takes on Taiwan

Cinema》及《「欲望性公民」：同性親密公民權》在內等
多本中英文專書，並曾主編《百變千幻不思議：台語片的混血與轉化》一書。

21

Chun-Chi WANG
Chun-Chi Wang is an Associate Professor in the English Department
at National Dong Hwa University in Hualien. She received her Ph.D.
in Critical Studies (now known as Cinema and Media Studies) fromthe University of Southern California. She was appointed Director of
the Taiwan Film and Audiovisual Institute in 2019 and was previously
the chairperson of the Taiwan Women's Film Association (2018-2022),
which was responsible for the Women Make Waves International Film
Festival in Taiwan. Her recent research concentrates on Taiyupian, film
as social practices, and gender and sexuality issues in film. She has
published articles in both English and Chinese in academic journals
such as Journal of Chinese Cinemas, Journal of Women’s and GenderStudies, and Journal of Art Studies, as well as in anthologies including
Thirty-two New Takes on Taiwan Cinema and the Routledge Handbookof East Asian Gender Studies.

一一重構：楊德昌 國際論壇

Moderator

22

與談人

芭芭拉．米勒芭芭拉．米勒是紐約動態影像博物館（MoMI）的策展事務
副總監，負責督導節目安排、組織展覽，以及指導博物館典藏與電影、電視和數位媒體相關的物質文化內容。在 MoMI
的重要展出包括「吉姆．韓森展」、「馬修．韋納的《廣告狂人》」、「圖像電影公司與《2001 太空漫遊》的孕生」、「查克．瓊斯的動畫藝術」，以及由安德魯．梅隆基金會資

助的「生而數位：通往保存之路」倡議，旨在建立數位媒體永續收藏與展覽的做法。米勒目前也主持 MoMI 全盤重新構
思與設計核心展覽的工作，這項工作得到美國博物館與圖書

館服務局（IMLS）贊助。她擁有紐約大學文化人類學博士學位，並曾在福坦莫大學教授博物館學課程。

23

Barbara MILLER
Barbara Miller is Deputy Director for Curatorial Affairs at Museum of
the Moving Image in New York, where she oversees programming,organizes exhibitions, and directs the content of the Museum’s
permanent collection of material culture related to film, televisionand digital media. Major projects at MoMI include “The Jim Henson
Exhibition; Matthew Weiner's Mad Men ,” “Graphic Films and the
Inception of 2001: A Space Odyssey,” “The Animation Art of Chuck
Jones,”and “Born Digital: Pathways Towards Preservation,”, an Andrew
W. Mellon-funded initiative to institute sustainable collection andexhibition practices related to digital media. Miller is also currently
leading an effort at MoMI to completely reimagine and redesign its
core exhibition, an effort supported by the Institute of Museum andLibrary Services. She received her Ph.D. in Cultural Anthropology fromNew York University, and has taught Museum Studies at Fordham
University.

一一重構：楊德昌 國際論壇

Panelist

24

與談人

田坂博子
自 2009 年起擔任東京都寫真美術館動態影像部門策展人。
此外，她共同策劃惠比壽映像祭，並曾在霧雕藝術家 / 錄像
藝術家中谷芙二子的工作室工作。她在大阪大學獲得藝術史
碩 士 學 位。 田 坂 博 子 的 主 要 策 展 計 畫 包 括「 視 覺 探 索

Vol.5——拼寫反烏托邦」（2012-13）、「高谷史郎：明亮

的房間」（2013-14）、「阿比查邦．韋拉斯塔古：黑暗中的幽 靈 」（2016-17）、「 重 探 日 本 擴 延 電 影 」（2017）、「exonemo: UN-DEAD-LINK」（2020） 以 及 第 2 至 第 15

屆 惠 比 壽 映 像 祭（2009-23）， 她 也 曾 擔 任 該 映 像 祭 第10/12/14 屆的藝術總監。

25

Hiroko TASAKA
Hiroko Tasaka has been a curator of the Department of Moving Imageat the Tokyo Photographic Art Museum since 2009. In addition, she
co-curates the Yebisu International Festival for Art & Alternative
Visions and worked at the fog artist/video artist Fujiko Nakaya's
studio. She received a master's degree in art history from Osaka
University. Tasaka's main projects include “Quest for Vision Vol.5 Spelling Dystopia (2012-13),” “ Shiro Takatani: La Chambre Claire (201314), ” “Apichatpong Weerasethakul: Ghosts in the Darkness (2016-17),”“Japanese Expanded Cinema Revisited (2017),” “exonemo UN-DEADLINK exhibit (2020)”and the Second to 15th “Yebisu International
Festivals for Art & Alternative Visions (2009-23)” ; She was the artistic
director at the 10th/12th/14th edition of the festivals.

一一重構：楊德昌 國際論壇

Panelist

26

與談人

李焯桃
影評人，現任香港電影評論學會董事局主席、M+ 博物館香港 電 影 及 媒 體 外 聘 策 展 人。 曾 任《 電 影 雙 周 刊 》 總 編 輯（1983-1987），香港電影評論學會創會會長（1995-1999）

及香港國際電影節協會藝術總監（2004-2018）。歷任柏林

影展、溫哥華、鹿特丹、維也納、雪梨、墨爾本、上海、臺北、
東京 FILMeX 及釜山電影節，以至臺北金馬獎及香港電影金像獎評審。
他曾為《信報財經新聞》（1988-1994，2005-2006）及《香港經濟日報》（1994-2004）每周撰寫影評專欄凡 18 年；著
有《八十年代香港電影筆記》、《觀逆集》、《淋漓影像館》
等 影 評 結 集 共 8 冊。 他 又 是《New Chinese Cinemas:

Forms, Identities, Politics 》（ 1996）、《 TAKE 100: The

Future of Film, 100 New Directors》（2010） 及《Asian
Cinema 100》（2015）的撰稿者。近年合編著作有《花樣

的年華：澤東廿五》（2016）、《十年再見 楊德昌》（2017）

及《雲外笑紅塵 林青霞》（2018）等；最近編有《戲夢餘音：
黃愛玲電影文存》（2020）及《香港電影王國—娛樂的藝術（增訂版）》（2020）。

27

LI Cheuk-toCurator at Large of Hong Kong Film and Media for M+ Museum, isalso the Board Chairman of Hong Kong Film Critics Society after
serving as its founding President in 1995-1999. Li has joined theHong Kong International Film Festival (HKIFF) in his capacity as
Programmer and Editor in 1983 and was the Artistic Director of HKIFF
Society since 2004 for 14 years.
Previously the Chief Editor of Film Biweekly in the 1980s, Li continues
to be a renowned author and editor of a plethora of film publications.
He was a weekly film columnist for Hong Kong Economic Journal(1988-1994, 2005-2006) and Hong Kong Economic Times (1994-2004),
and a contributor to New Chinese Cinemas: Forms, Identities, Politics(1996), TAKE 100: The Future of Film, 100 New Directors (2010) andAsian Cinema 100 (2015). In recent years he edited In the Mood for
Films – 25th Anniversary of Jet Tone Films (2016), Edward Yang, 10Year Commemoration (2017) and Brigitte Lin, Filmmaker in Focus (2018).
His writings in Chinese were collected in eight volumes including
Notes on Hong Kong Cinema in the Eighties, vol. 1 & 2 (1990). He hasserved on over a dozen juries including the Hong Kong Film Awards,
the Taipei Golden Horse Awards, as well as other major film festivals
around the world, including Berlin, Rotterdam, Vienna, Busan, Tokyo,
Shanghai, Taipei, Sydney, Melbourne, and Vancouver.

一一重構：楊德昌 國際論壇

Panelist28

Panel Discussion

電影藝術與跨領域
Film Art andInterdisciplinarity

主持人

王俊傑

臺北市立美術館館長
與談人

Moderator

Jun-Jieh WANG

Director, Taipei Fine Arts Museum
Panelists

榮念曾Danny YUNG

姚瑞中

YAO Jui-Chung

藝術家
策展人
藝評人

Artist;Curator;Art Critic

鴻 鴻Hung Hung

藝術家
進念・二十面體聯合藝術總監

詩人
電影與劇場編導Artist;Co-Artistic Director of Zuni
Icosahedron

Poet;
Director of Film & Theater

一一重構：楊德昌 國際論壇

II

29
座談

30

主持人

王俊傑
臺北市立美術館館長、國立臺北藝術大學新媒體藝術系教授。畢業於德國柏林藝術學院，獲卓越藝術家最高文憑。

1984 年開始錄像藝術創作，為臺灣新媒體藝術發展的開創者之一。曾獲雄獅美術新人獎、德國柏林電視塔藝術獎及台新藝術獎視覺藝術大獎等。重要國際邀展包括：「光州國際雙
年展」、「威尼斯雙年展台灣館」、「台北雙年展」、「亞
太當代藝術三年展」、「歐洲媒體藝術節」、「柏林超媒體
藝術節」等。重要獨立策展包括：「異響—國際聲音藝術展」（北美館，2005）、「台北雙年展：（限制級）瑜珈」（北美館，2006）、「Videonale —當代國際錄像藝術對

話」（國美館，2011）、「再基地：當實驗成為態度」（臺灣當代文化實驗場，2018）、「狂八〇：跨領域靈光出現的時代」（北美館，2022）等。近年參與跨域媒體劇場設計作

品 包 括： 華 格 納 歌 劇《 尼 貝 龍 指 環 》（ 國 家 交 響 樂 團，

2006）、普契尼歌劇《杜蘭朵》（德國萊茵歌劇院，2015／衛武營，2019）；導演科技媒體劇場《罪惡之城》（松山文創園區，2013）及《索多瑪之夜》（北美館，2015）等。

*「一一重構：楊德昌」回顧展策展人31Jun-Jieh WANG
Jun-Jieh Wang currently serves as the Director of the Taipei Fine Arts
Museum and is a Professor in the Department of New Media Art at
Taipei National University of the Arts. He received a master’s degree
in art from Berlin University of the Arts. In 1984, Wang started making
videos and became a pioneer of new media art in Taiwan. He is arecipient of the Hsiung-Shih New Artists Award, Berlin Television
Tower Award, and the Taishin Arts Award for visual arts. He has
shown work at major international exhibitions, including the“Gwangju Biennale, ” “Venice Biennale, Taiwan Pavilion, ” “Taipei
Biennial,” “Asia-Pacific Triennial of Contemporary Art, ” “European
Media Art Festival, ”and “Transmediale Berlin;” and curated the“B!AS:
International Sound Art Exhibition (TFAM, 2005), ” “Taipei Biennial:
Dirty Yoga (TFAM, 2006), “Videonale: Dialogue in Contemporary
Video Art (NTMoFA, 2011),” “Re-Base: When Experiments Become
Attitude (Taiwan Contemporary Culture Lab, 2018),” and “The Wild
Eighties: Dawn of a Transdisciplinary Taiwan” (TFAM, 2022). Wang
has also contributed to interdisciplinary digital scenic designs
for productions of Richard Wagner's The Ring of the Nibelungenperformed by the Taiwan Philharmonic in 2006, and Giacomo
Puccini's Turandot performed at the Deutsche Oper am Rhein in 2015
and at the National Kaohsiung Center for the Arts Weiwuying in 2019.
He directed Sin City, which was performed at Songshan Cultural andCreative Park in 2013, and The Night of Sodom, performed at the TFAM
in 2015.
* Curator of A One and A Two: Edward Yang Retrospective

一一重構：楊德昌 國際論壇

Moderator

32

與談人

榮念曾
榮念曾是新類型藝術倡導者，香港實驗劇場的代表 — 進

念 ‧ 二十面體——的創始成員及聯合藝術總監。在過去的50 年裡，榮氏導演、編劇、監製和舞台設計的創作超過 100
部實驗藝術作品和原創舞台作品。榮氏在國際交流、文化政

策和藝術教育的貢獻良多，於 2022 年獲香港藝術發展局頒
發藝術傑出貢獻獎；2014 年，福岡獎−藝術文化獎，表彰他
對亞洲藝術和文化發展的貢獻；2009 年，德意志聯邦共和國十字勳章，以表彰榮氏對德國與香港之間藝術和文化交流
的貢獻；2008 年，其戲劇作品《荒山淚》獲得聯合國教科
文組織國際戲劇協會的 Music Theatre NOW 獎項。
榮氏亦為香港當代文化中心、世界文化論壇亞太聯盟及城市
文化交流會議的主席。聯合國 Common Consultant Roster
專家顧問成員，國際戲劇協會音樂劇委員會榮譽成員，中國
文學藝術界聯合會香港會員總會榮譽顧問，中華創意產業論
壇召集人。

33

Danny YUNG
An advocate in experimental and new art forms, Yung is a founding
member and Co-Artistic Director of Zuni Icosahedron, the epitomeof experimental theatre in Hong Kong. Over the past 50 years,
Yung created over 100 experimental art works and original stage
productions as a director, scriptwriter, producer and stage designer.
Yung is also known for his contributions to international exchange,
cultural policies, and education in the world of art. Yung is therecipient of Award for Outstanding Contribution in Arts presented by
the Hong Kong Arts Development Council (2022); the Fukuoka Prize– Arts and Culture Prize for his contributions to the development of
Asian arts and culture (2014); the Cross of the Order of Merit of theFederal Republic of Germany in recognition of Yung’s contributions
towards the arts and the cultural exchange between Germany andHong Kong (2009); the Music Theatre NOW Award presented by the
UNESCO’s International Theatre Institute for his theatre work Tears of
Barren Hill (2008).
Yung is the chairperson of Hong Kong Institute of Contemporary
Culture, World Culture Forum Asia-Pacific Alliance, and City-to-City
Cultural Exchange Conference. A Member Consultant of United
Nations Common Consultant Roster, and a Honorary Member ofMusic Theatre Committee of International Theatre Institute, and a
Honorary Consultant of China Federation of Literary and Art Circles,
Hong Kong Member Association, and the Convenor of Chinese
Creative Industries Forum.

一一重構：楊德昌 國際論壇

Panelist

34

與談人

姚瑞中
藝術家、策展人、影評人，現為國立台灣師範大學美術系兼任教授、非常廟藝文空間暨幻影堂負責人。曾受邀參展威尼
斯、橫濱、亞太、上海、亞洲、深圳、首爾、曼徹斯特、雪梨、臺北、雅加達、波蘭等地藝術雙 / 三年展；台北攝影節
新人獎、香港「集群藝術獎」、新加坡「亞太藝術獎公眾獎」
及臺灣「台新獎」得主。曾擔任「天打那實驗體」團長、楊德昌電影《獨立時代》美術指導， 1997 年與友人創辦「非常廟」。自 2010 年起，帶領「失落社會檔案室」進行反思

閒置空間現象的《海市蜃樓》拍攝計劃、「微型文化行動」，
並創作《巨神連線》、《地獄空》等探究臺灣民間信仰的系列作品。此外，還推動《攝影訪談輯》系列出版。 2020 年

創建虛構的「犬儒共和國」，以寄生宿主中華民國為概念，
探討國族新認同與新冷戰趨勢。 2020 年受邀擔任「禽獸不如：台灣美術雙年展」策展人。

35

YAO Jui-Chung
Artist, curator and art critic. He is currently a Professor in the
Department of Fine Arts at National Taiwan Normal University, andDirector of VT Artsalon and Illusion Art Studio. He has exhibited
work at many important international art exhibitions. He has beenhonored with the Taipei New Photographer Award, Hong Kong
Multitude Art Prize, Singapore’s Asia Pacific Breweries Foundation
Signature Art Prize, and Taipei’s Taishin Arts Award. Yao once led theart group Ta-Da-Na Experimental Group, was the artistic director for
Edward Yang’s film A Confucian Confusion , and founded VT Artsalonwith friends in 1997. In 2010, Yao led the Lost Document Society toinitiate a microculture movement and start his photography project
Mirage, which called for a reconsideration of disused space in Taiwan.
Later, he explored Taiwanese folk beliefs in his series Incarnationand Hell Plus, and also promoted the publication of the book series
PHOTO-LOGUES. In 2020, he created his “Cynic Republic” based ona fictionalized account of history, and explored national identity andnew cold war trends based on the Republic of China’s parasite-hostconcept. In the same year, Yao was invited to curate the exhibition“Subzoology: 2020 Taiwan Biennial.”. He is currently a Professor in
the Department of Fine Arts at National Taiwan Normal University,and Director of VT Artsalon and Illusion Art Studio.

一一重構：楊德昌 國際論壇

Panelist

36

與談人

鴻鴻
詩人，劇場及電影編導。 1964 生於臺灣，曾獲吳三連文藝
獎、2008 年度詩人獎、南瀛文學獎傑出獎。出版有詩集《土製炸彈》、《暴民之歌》、《樂天島》、《跳浪》等九本、散文《阿瓜日記──八〇年代文青記事》、《晒 T 恤》、評論《新世紀台灣劇場》、小說《灰掐》及劇本等多種著作，

並 主 編《 衛 生 紙 + 》 詩 刊（ 2008-2016 ） 及【 當 代 經 典 劇 作
譯叢】系列書籍。擔任過 40 餘齣劇場、歌劇、舞蹈之導演，
並任教於國立臺北藝術大學電影系及文學跨域研究所。曾任《 牯嶺 街 少 年 殺 人 事 件 》 合 作 編 劇， 電 影 作 品 有《 3 橘 之戀》、《人間喜劇》、《空中花園》、《穿牆人》，紀錄片有《台北波西米亞》、《夏夏的聯絡簿》等，曾獲金馬獎最
佳原著劇本獎、芝加哥影展國際影評人獎、南特影展最佳導演獎等。2011 及 2018 年兩度赴柏林文學協會（ LCB ）駐村。

2014 年獲選為亞洲文化協會紐約駐村藝術家。曾任新北市
電影節、桃園電影節、國際人權影展、光點台北「國民戲院」
策展人，現為臺北詩歌節及人權藝術生活節策展人，「黑眼睛文化」及「黑眼睛跨劇團」藝術總監。

37

Hung Hung
Hung Hung is a Taiwanese poet, director of film & theater. The
recipient of the Wu San-lien Literary Award, he is the author ofnine books of poetry, including Song of the Rioters and Carefree
Island; two collections of lyrical prose, The Diary of Ah Gua: Hipster
Chronicles from the Eighties and Drying T-shirts ; a book of literary
criticism Taiwan Theater of the New Century; as well as several novels
and plays. The founding editor of Off the Roll, Poetry+ (2008-2016),
Hung Hung has also directed more than forty plays, operas, anddance performances. He has taught at Taipei National University of
the Arts Department of Filmmaking and the Graduate Institute ofTransdisciplinary Study on Creative Writing and Literature. His films
have won prizes such as the Golden Horse Award for Best Original
Screenplay, the Fipresci Award at the Chicago International Film
Festival, and Best Director at the Festival des 3 Continents in Nantes.
Invited to the Literarisches Colloquium Berlin in 2011 and 2018, he
was also 2014 artist-in-residence at New York's Asian Cultural Council.
Currently, he curates the Taipei Poetry Festival and Taiwan Human
Rights Art Festival, and serves as the artistic director of Dark Eyes Ltd.
and Dark Eyes Performance Lab.

一一重構：楊德昌 國際論壇

Panelist38

Keynote Speech

楊德昌，十字路口上的先知Edward Yang,a Visionary at the Crossroads

主持人

孫松榮

臺北藝術大學藝術跨域研究所暨電影創作學系合聘教授主講人

尚－米榭爾・弗東

巴黎政治學院副教授
蘇格蘭聖安德魯斯大學榮譽教授

Moderator

SING Song-Yong

Professor, the Graduate Institute of Trans-disciplinary
Arts and Department of Filmmaking, Taipei National
University of the Arts
Speaker

Jean-Michel FRODON

Associate Professor, Sciences Po Paris;
Honorary Professor, University of St. Andrews,
Scotland

一一重構：楊德昌 國際論壇

II

39
專題演講

40

主講人

尚−米榭爾・弗東
法國記者、影評人、作家、教授和策展人。他曾任主要報紙《世界報》資深編輯和《電影筆記》主編，如今他為「Slate.

fr」 和「AOC」 網 站 撰 稿， 經 營 部 落 格 Projection

publique，也擔任《凱曼電影筆記》（西班牙）、《明室》（巴爾幹地區）、《Filo》（南韓）、《Cineaste》（美國）的編輯委員或固定撰稿人。他是巴黎政治學院副教授、蘇格蘭聖安德魯斯大學榮譽教授。弗東曾擔任眾多展覽和計畫的策
展人或共同策展人，包括「於是，中國」、「夢想之境」、「賈法．潘納希」、「阿米爾．納德瑞」（龐畢度中心）、「介紹高達」（上海大學）、「法國電影」（德黑蘭當代藝術博物館）、「克里斯．馬克」（法國電影園）、「法國新浪潮
被遺忘的導演們」（紐約現代藝術博物館與哈佛電影資料庫）。他為「你我不住在同一星球上」（台北雙年展）創作

了裝置作品《跨物種影像交會》。他是 2014 年多段式電影《塞拉耶佛的橋》的藝術總監，以及盧馬基金會和貝納爾丹學院
致力環境議題的電影節節目規劃人。他是超過 25 本電影相關書籍的作者或編者，其中包括《民族映像》、《論侯孝賢》、《伍迪．艾倫談話錄》、《華語電影》、《電影與納粹大屠殺》、《羅伯．布列松》、《吉爾．德勒茲與影像》、《楊德昌的電影世界》、《從新浪潮到今日的法國電影》、《阿薩亞斯論阿薩亞斯》、《賈樟柯的電影世界》、《巴黎電影院》、《克里斯．馬克》、《阿巴斯．基阿魯斯塔米的開放式電影作品》。

41

Jean-Michel FRODON
French journalist, film critic, essayist, professor and curator. He has
been senior editor for the leading daily Le Monde and editorial
director of Cahiers du cinema, he now writes for the websites Slate.
fr and AOC , runs the blog Projection publique, is member of theeditorial board and/or regular contributor to Caiman, Cuadernos deCine (Spain), Camera Lucida (Balkans), Filo (South Korea), Cineaste(USA).
He is Associate Professor at Sciences Po Paris (Political Sciences
Institute) and Honorary Professor, University of St. Andrews, Scotland.
Frodon served as curator or co-curator of various exhibitions andprograms, including “Alors la Chine,” “Dreamlands,” “Jafar Panahi,”“Amir Naderi (Centre Pompidou),” “Introducing Jean-Luc Godard(Shanghai University), ” “ Cinéma français (Tehran Museum ofContemporary Art),” “Chris Marker (Cinémathèque Française),” “TheForgotten Directors of the French New wave (MoMA and Harvard
Film Archive).” He created the installation Multispecies Cinematic
Encounters for the exhibition “You and I dont Live on the Same
Planet (Taipei Biennale)”. He was the artistic director of the omnibus
film Bridges of Sarajevo in 2014, and the programmer of film festivals
dedicated to environment issues at LUMA Foundation and Collège
des Bernardins. He is the author or editor of more than 25 books
about cinema, including La Projection nationale , Hou Hsiao-hsien ,Conversation avec Woody Allen , Le Cinéma Chinois , Cinema andthe Shoah , Robert Bresson , Gilles Deleuze et les images , Le Cinéma
d’Edward Yang, Le Cinéma Français de la Nouvelle Vague à nos jours,
Assayas par Assayas, The World of Jia Zhangke, Cinemas of Paris, Chris
Marker, Abbas Kiarostami l’œuvre ouverte.

一一重構：楊德昌 國際論壇

Speaker

42

演講摘要

楊德昌，十字路口上的先知
把楊德昌其人其事置入幾個歷史架構中，在我看來是重要的。無庸置疑，他屬於臺灣的電影史，但非僅此而已；他也屬於華人的電影史，
他是 1980 年代風起雲湧時期的偉大人物之一；同時他也屬於世界的電影史，這從最近他的兩部電影，《一一》和《牯嶺街少年殺人事件》，
被 1639 位影評人、策劃人、電影資料館館員、學者共同評選為史上百大最佳電影，可作為明證。不過楊德昌和他的作品，以及更廣泛而言，
他身為藝術家的創作手法，更屬於語言變革的歷史，尤其是（但又超乎於）視覺語言上。此外，他也屬於過去 40 年來，世界被重新形塑的
全球化歷史。就此觀點而言，他的作品在「國際」迷影文化，盤踞了重要的位置，特別是打開了歐洲和北美觀眾，對於世界上長期未被充
分認識的地區的電影形式和敘事的接受度。從這個脈絡來看，影展和
影評人，以及讓楊德昌電影得到認可的一些「中間人」的行動，扮演
了關鍵的角色。
身為影評人，我的責任是從關注電影開始。就此而言，我把每一部電影都當成是一個重要的命題，需要許多的沈思冥想，由它在形式上和敘事上的主張，啟發出各種可能性。不過，如果今天我們要藉著國家
電影及視聽文化中心和臺北市立美術館共同主辦的盛大展覽與國際論
壇的機會，評估他在每部電影各自特定的議題外，整體作品所為我們
開展的、我們口中的「楊德昌遺產」，我認為唯有把他的個人旅程納入這四個歷史連續體，我們才能真正理解他是誰、他留下了什麼。
我想補充的還有一個領域，它不是從前面四個領域額外增加出來，但是以不同形式貫穿他大部分的電影作品：即對城市變遷的感知和強調，

43

包括《青梅竹馬》、《恐怖份子》、《獨立時代》、《麻將》和《一一》，成了 20 與 21 世紀交接之際，發達社會當代城市變遷的重要檔案。臺
北作為城市實驗室，扮演了演進的先驅，不光是在建築方面，在全世
界發展的個人和集體關係方面也是如此，這些演進過程在楊德昌的電
影中得到描述，直到今天他在世界電影中仍是重要人物，我很榮幸地稱呼他是我的朋友。

一一重構：楊德昌 國際論壇

由於楊德昌對於臺北這個城市的敏銳感受能力，使得他的電影，主要

44

Abstract

Edward Yang,a Visionary at the Crossroads
It seems important to me to situate Edward Yang, who he was, what he did,
within several stories. He belongs, obviously, to the history of Taiwanesecinema, but not only. He also belongs to the history of Chinese cinema, where
he was one of the great figures of a major turning point from the 1980s, and tothe history of cinema in general, as evidenced by the recent ranking of two of
his films, Yiyi and A Brighter Summer Day, among the 100 best films of all timeby a college of 1,639 critics, programmers, curators, archivists and academics.
But Edward Yang, his work and more broadly his approach as an artist also
belong to the history of the evolution of languages, in particular but not only
visual languages. And he belongs to the history of globalization, to the way
our planet has been reconfigured over the last 40 years. In this respect, hiswork occupies a key place in the capacity that “international” cinephilia, thatis to say especially European and North American, opened up to formal andnarrative proposals from parts of the world that had been underrepresented
for so long. In this context, the role of festivals and critics has been decisive,
as well as the action of a few “go-betweens” who have accompanied therecognition of Edward Yang's films.
As a film critic, it is my responsibility to start with paying attention to thefilms first. In this respect, I perceived each of them as a major proposal,
which called for many meditations and possibilities to be inspired by what it
proposed, formally as well as narratively. But if today, on the occasion of thisgreat exhibition and the forum organized by the Taiwan Film and Audiovisual
Institute and the Taipei Fine Arts Museum, we are to try to measure what his
work as a whole has opened up for us, let's say the legacy of Edward Yang,
beyond the singular issues of each film, it seems to me that it is from theinclusion of his personal journey in these four historical continuums that it ispossible to take the measure of what he was, and what he has passed on.

45

一一重構：楊德昌 國際論壇

I would like to add another area, which is not in addition to the four previous
ones but runs in different forms through much of his film work: the perception
and highlighting of urban mutations, thanks to Edward Yang's exceptional
sensitivity to what was happening to the city of Taipei, and which makes his
films, principally Taipei Story , Terrorizers, A Confucian Confusion, Mahjong
and Yiyi, a meaningful archive of the mutations of the contemporary city indeveloped societies at the turn of the 20th and 21st centuries. Taipei was anurban laboratory that was a precursor of the evolutions, not only architectural,
but also concerning individual and collective relations as they would growall over the world, evolutions that were recounted in the films of the man
who remains today a major figure in the art of world cinema, and whom I am
honored to have been able to call my friend.

46

Panel Discussion

楊德昌的電影革命

Edward Yang’s Cinematic
Revolution

主持人

黃建業

影評人
電影學者

Moderator

Edmond WONG
Film Critic;
Film Scholar
Panelists

與談人

舒琪

影評人
電影導演

陳湘琪

電影與劇場演員
臺北藝術大學電影創作學系及劇場設計
學系教授

陳以文

影視與劇場演員
編劇
導演

SHU KeiFilm Critic;
Film Director

Shiang-chyi CHEN

Actress;
Professor, Department of Theatrical
Design & Technology andDepartment of Filmmaking, Taipei
National University of the Arts

Yi-Wen CHEN

Actor;
Playwright;
Director of Film & Theater

一一重構：楊德昌 國際論壇

III

47
座談

48

主持人

黃建業
電影學者、影評人、詩人、劇場導演。1954 年出生於香港，
來臺就讀後文章散見於《書評書目》、《世界電影》、《電影欣賞》、《大地》、《文訊》、《印刻》及各大報章
副刊，曾任《影響》雜誌主編。1980 年出版首部影評集《轉動中的電影世界》，參與影評改革推動，積極關注、評論「台灣新電影」，簽署《民國七十六年台灣電影宣言》，為臺灣電影藝術發展推波助瀾。曾編導多齣舞臺劇，並陸續發表電影研究著作，其中《楊德昌電影研究》
已成為研究楊德昌電影的重要參考資料。1996 年接任國
家電影資料館館長，解決迫切的片庫環境及拷貝修復等
困境，以接續電影保存使命。他同時也是臺灣三大影展（金馬影展、台北電影節、台灣國際紀錄片影展）重要草創成員。2000 年代台北電影節的核心價值「年輕、獨立、非主流」及「城市主題」策展主軸皆扮演關鍵角色。
黃建業先後任教於多所大專院校，並長年參與電影賞析
講座及寫作影評，顯示他對電影的真知灼見及奉獻熱忱，
現任教於國立臺北藝術大學，持續推廣電影教育。

49

Edmond WONG
Film scholar, critic, poet, and theater director Edmond Wong wasborn in 1954 in Hong Kong. After studying in Taiwan, his writing
frequently appeared in the periodicals Book Review and Bibliography,
World Screen , Film Appreciation Journal , The Earth , Wenhsun , andInk , as well as in major newspapers. He served as Chief Editor of
Influence magazine. In the 1980s, he published Taiwan's first film
criticism anthology, participated in film criticism reform, wrote
about New Taiwanese Cinema, and signed the 1987 Taiwan Cinema
Manifesto pushing for development of the film industry in Taiwan.
Wong has directed many plays and continuously published in thefield of film studies, including his book on Edward Yang's films,
which is considered an important reference for research on thefilmmaker. In 1996, he took over the directorship of the Chinese Taipei
Film Archive to promote the organization's preservation mission
by addressing urgent problems with film restoration and storage.
Wong helped found Taiwan's three major film festivals: the Golden
Horse Film Festival, Taipei Film Festival, and Taiwan International
Documentary Film Festival, and in the 2000s, played a key role inestablishing the core values for the Taipei Film Festival of supporting
young, independent, and non-mainstream filmmakers, and setting its
signature theme of City in Focus. For many years, Wong has shared
his insight and demonstrated his dedication to film by teaching incolleges and universities, giving lectures on film, and writing film
reviews. He continues to promote film education by teaching at the
Taipei National University of the Arts.

一一重構：楊德昌 國際論壇

Moderator

50

與談人

舒琪
1977 年畢業於香港大學，先後加入過佳藝電視台、香港電視廣播有限公司及嘉禾電影公司擔任編劇及副導演，導演作
品有《兩小無知》、《虎度門》、《基佬四十》、《海濱薄夢》（短片）和《沒有太陽的日子》、《想像易文》、《董培新與我》（三者皆為紀錄片）等。監製作品有《初戀無限Touch 》、《阿李爸爸，兩個大盜》、《一個複雜故事》與《翠絲》（後二者並兼任編劇）。期間又成立「創造社」發行藝
術及獨立電影超過 200 部。 1997 年開設電影專門書店「壹
角度書店」。著作有《 1994/1995 香港電影回顧》（編輯）、《大路之歌：孫瑜回憶錄》（合編）、《香港戰後國、粵語

電影比較研究：朱石麟、秦劍等作品回顧》、《許鞍華「越南三部曲」劇本集》（編著）及《中國美少年》、《天安門演義》（後二者為小說）。 2011 年創立「香港粵語片研究會 」。 2005-2016 年 任 香 港 演 藝 學 院 電 影 電 視 學 院 院 長。

2021 年開設 YouTube 節目頻道《只要有電影》。

51

SHU Kei
Shu Kei began writing scripts for television when he was still studyingin the University of Hong Kong. Among the directors he worked
with during this period were Ann Hui, Patrick Tam, Allen Fong andTsui Hark. He entered Golden Harvest Film Co. after graduation as
scriptwriter and assistant director. In 1981, he made his directorial
debut, Sealed with a Kiss. Since then, he has directed eight dramas,
including Hu-du-men (1996), A Queer Story (1997), and Thin Dream
Bay (Short, 2014), and three documentaries, Sunless Days (1990),
Imagining Evan Yang (2014) and Tung Pui-sun and Me (2016). He wasalso a distributor specialising in arthouse films and released over 200
titles. In 1997, he opened the first film bookshop in Asia, P.O.V. He
also edited and published several anthologies of annual film reviewsfor Hong Kong Film Critics Society, two books on Hong Kong Cinema
in the 1950s and 60s for Hong Kong International Film Festival andtwo novels. He was Dean of School of Film and Television of The Hong
Kong Academy for Performing Arts from 2005-2016. His latest filmis Tracey (2018), which he wrote and produced. Since 2021, he’s been
hosting a film criticism program, Only Films Matter, on YouTube.

一一重構：楊德昌 國際論壇

Panelist

52

與談人

陳湘琪
舞台和電影演員，畢業於國立臺北藝術大學戲劇學系、紐約
大學教育戲劇碩士。大學時期演出楊德昌導演作品《獨立時代》受到矚目，後成為蔡明亮電影作品中的固定演員。她曾
以電影《不散》（ 2003 ）和《天邊一朵雲》（ 2005 ）入圍

金馬獎最佳女主角；並於 2014 年以電影《迴光奏鳴曲》獲得第 16 屆台北電影獎和第 51 屆金馬獎最佳女主角獎， 2015
年再以《迴光奏鳴曲》獲得法國費索爾亞洲國際影展女主角
特別獎；2017 年以電影《接線員》入圍金馬獎最佳女配角；

2021 年以電影《修行》入圍第 28 屆金馬獎最佳女主角，該
片於隔年入圍第 24 屆台北電影節最佳女主角。除了演員身分，同時任教於國立臺北藝術大學劇場設計學系及電影創作
學系，教授舞台表演、排演及電影表演等相關藝術課程。

53

Shiang-chyi CHEN
Shiang-chyi Chen is a Taiwanese actress of screen and stage. She
started learning ballet at young age, later also learned Beijing opera,
and started acting since 1987. Shiang-chyi Chen appeared in Edward
Yang’s A Confucian Confusion (1994, Cannes Film Festival) as a leading
actress while she studied in Educational Theatre at NYU in 1994. Afteracquiring her Master Degree from NYU, she started her career as anactress in Taiwan. In 1996, she began to star in multiple films directedby Tsai Ming-Liang, including The River (1997, Berlin Film Festival,
Silver Bear), What Time is it There (2001, Cannes Film Festival),
Goodbye, Dragon Inn (2003, Venice International Film Festival, Fipresci
Prize), The Wayward Cloud (2005, Berlin Film Festival, Silver Bear), I
don’t want to sleep alone (2006, Venice International Film Festival),
Stray Dogs (2013, Venice International Film Festival, Jury Prize), The
Deserted (2017, Venice International Film Festival) . She has appearedin many films in Taiwan and overseas as leading or supporting roles.
Chen won the best leading actress award in 2014 Taiwan Golden
Horse Awards with her performance in the film Exit.

一一重構：楊德昌 國際論壇

Panelist

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與談人

陳以文
國立藝術學院戲劇系畢業，活躍於劇場、電視和電影各領域，兼擅表演、編劇、導演多項才能。在學期間曾修習楊德
昌導演的電影課，並由楊導擔任畢業作品的指導教師，爾後曾任楊德昌的電影公司全職助理、編劇助理、副導演、表演
指導等職務，與楊導成為創作上相互分享經驗想法的朋友。
合作電影作品如《牯嶺街少年殺人事件》、《獨立時代》、《麻將》、《一一》，動畫長片《追風》之劇本初稿共同編
寫，以及擔任楊導劇場作品《成長季節》、《九哥與老七》
的主要演員。作為電影導演，《暴力紀實錄》曾獲山形國際紀錄片影展獎勵賞、《果醬》獲溫哥華國際影展評審團特別獎，《運轉手之戀》獲第 37 屆金馬獎評審團大獎、台北電影獎評審團大獎及最佳導演獎。 2015 年重返劇場及影視表
演創作，編寫舞臺劇劇本《死刑犯的最後一天》並擔綱劇中
主要演員， 2019 年以《陽光普照》獲得第 56 屆金馬獎最佳
男主角獎、第 1 屆台灣影評人協會獎最佳男演員獎。著有《殺掉青春沒有夢：有些事，要等電影殺青了才知道》。

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Yi-Wen CHEN
A graduate of the Drama department at the National Institute of
the Arts, Yi-Wen Chen is active in various fields of theater, television,and film, excelling in acting, screenwriting, and directing. During
his studies, he took a film class taught by director Edward Yang andwas guided by Yang for his graduation project. He subsequently held
several positions at Yang’s film company, including full-time assistant,script assistant, assistant director, and acting coach. And the twobecame close friends who shared experiences and ideas for theircreative work. They collaborated on films such as A Brighter Summer
Day , A Confucian Confusion , Mahjong, Yi Yi , and the script draft for
the animated feature The Wind. He also played major roles in Yang’s
theater productions Period of Growth and Brother Nine and Old Seven- A ‘97 Fantasy. As a film director, Chen’s Scenes of Violence won theAward of Excellence at the Yamagata International Documentary Film
Festival, Jam won the Special Mention at the Vancouver InternationalFilm Festival, The Cabbie won the Grand Jury Award at the 37thGolden Horse Awards and the Grand Jury Award and Best Director
Award at the Taipei Film Festival. In 2015, Chen returned to theaterand film performances. He wrote the script for the stage play The
Last Day of a Condemned Man and played the lead role in the play.
In 2019, he won the Best Leading Actor Award at the 56th Golden
Horse Awards and the Best Actor Award at the 1st Taiwan Film Critics
Society Awards for his role in A Sun . Chen has also written a bookentitled Kill Your Youth Without Dreams: Some Things You Only Learn
After the Film Is in the Can.

一一重構：楊德昌 國際論壇

Panelist

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Panel Discussion楊德昌的當代遺贈

The Legacy of Edward Yang

主持人

Moderator

國家電影及視聽文化中心研究策展處
處長Supervisor, Division of Research andProgram, Taiwan Film andAudiovisual Institute與談人

PANELISTS

林木材

陳駿霖

Wood LIN

Arvin CHEN

電影導演

Film Director

阮鳳儀

Feng-I Fiona ROAN

電影導演

Film Director

濱口龍介

Ryusuke HAMAGUCHI

電影導演

Film Director

一一重構：楊德昌 國際論壇

I

57
座談

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主持人

林木材
畢業於國立臺南藝術大學音像管理所，從事紀錄片評論
與推廣、策展等相關工作多年，文章散見網路與報章，著有《景框之外：台灣紀錄片群像》一書，拍有短片《自由廣場》。多年來走訪多個國際紀錄片影展，並受邀擔任評審，包括鹿特丹國際影展、雪菲爾國際紀錄片影展、
捷克 ONE WORLD 人權國際影展等。其策劃之原創性電影節目單元「台灣切片｜想像式前衛：1960s 的電影實驗」
曾巡迴多國，獲得廣大迴響。

2021 年起擔任國家電影及視聽文化中心研究策展處處長，
負責研究、出版、節目、影展等多項業務，其擔任主編
之《Fa 電影欣賞》雜誌曾獲金鼎獎優良出版品推薦。他
也是 TIDF 台灣國際紀錄片影展策展人與阿姆斯特丹國際

紀錄片影展（IDFA）選片顧問，同時參與「一一重構：
楊德昌」回顧大展策劃工作。

59

Wood LIN
He received his MA from the Graduate Institute of Sound and Image
Studies at Tainan National University of the Arts. He is a filmmaker,
film critic, writer, and festival organizer specializing in documentaries.
He has also been invited as a juror for many international film
festivals, like the International Film Festival Rotterdam, theSheffield International Documentary Film Festival, the ONE WORLDInternational Human Rights Film Festival, etc. The program “Imaging
the Avant-Garde: Taiwan's Film Experiments of the 1960s” he curated
has traveled to many international film festivals and institutions.
He has served as program director of the Taiwan International
Documentary Festival (TIDF) since 2013 and has been the programadvisor of the International Documentary Festival Amsterdam (IDFA)
since 2020. He currently supervises the division of research andprogram at the Taiwan Film and Audiovisual Institute and is in chargeof research, publication, film program, and film festival. Additionally,
he participated in the curation of Edward Yang’s retrospective.

一一重構：楊德昌 國際論壇

Moderator

60

與談人

陳駿霖
美國南加大電影碩士，畢業短片《美》奪下第 57 屆柏林影展最佳短片銀熊獎。2010 年第一部電影長片《一頁台北》由國際導演文溫德斯擔任監製，並於柏林國際影展
首映。2013 年第二部電影《明天記得愛上我》也於柏林
國 際 影 展 世 界 大 觀 單 元 世 界 首 映， 獲 得 最 佳 亞 洲 電 影

NETPAC 獎。2021 年完成第三部臺灣電影《初戀慢半拍》
為台北電影節開幕片，同年拍攝第一部美國電影《台北愛之船》。目前正在進行美國 Apple TV 電視影集的後期
製作。

61

Arvin CHEN
Arvin Chen is an award-winning Taiwanese-American writer anddirector based in Taipei and Los Angeles. He has an MFA in film
production from USC’s School of Cinematic Arts. His thesis film
Mei won the Short Film Silver Bear at the 57th Berlin InternationalFilm Festival. In 2010, Arvin’s first feature film, Au Revoir Taipei was
executive produced by Wim Wenders and had its world premiere at
the Berlin International Film Festival, where it won the NETPAC Award
for Best Asian Film. In 2013, his second feature Will You Still Love
Me Tomorrow? again premiered in Berlin and screened in the World
Cinema Competition at Tribeca.
Arvin’s latest film is Mama Boy (2021). It was the opening film of theTaipei Film Festival and is currently streaming on Disney+ throughout
Asia. He most recently directed the USA/Taiwan co-production featurefilm Loveboat, Taipei based on the New York Times best-selling YAnovel. Arvin is currently directing episodic television for Apple TV.

一一重構：楊德昌 國際論壇

Panelist

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與談人

阮鳳儀
畢業於國立臺灣大學中文系，美國電影學院（AFI）導演
碩士。2021 年所編導之首部劇情長片《美國女孩》獲第58 屆金馬獎最佳新導演，成為首位獲得此獎項的女性導演。《美國女孩》同時也獲得金馬獎最佳新演員、最佳攝影、觀眾票選最佳影片，以及費比西影評人獎。《美國女孩》亦獲得第 40 屆香港金像獎「最佳亞洲華語電影」
及第 24 屆台北電影節最佳影片。現已上架 Netflix 全球

190 餘地區。著有《美國女孩：電影劇本及創作全書》。

63

Feng-I Fiona ROAN
Feng-I Fiona Roan is a writer/director based in Taipei. Her debut
feature American Girl was shortlisted in the 2021 Tokyo InternationalFilm Festival’s Asian Future section. American Girl won 4 Golden
Horse Awards, including Best New Director and the Audience Award(making her the first woman to win the Golden Horse Best New
Director Award). American Girl also won the 40th Hong Kong filmaward for Best Asian Chinese-Language Film, and Best Narrative Filmat the 24th Taipei Film Festival. The film is now available on Netflix
worldwide.

一一重構：楊德昌 國際論壇

Panelist

64

與談人

濱口龍介
出生於 1978 年 12 月 16 日。自東京大學畢業後參與電影工作，爾後進入東京藝術大學的研究生電影課程。他的畢業作品《暗湧情事》於 2008 年聖賽巴斯提安國際影展
及東京新作家主義影展上映。之後持續從事電影拍攝。
作品包括在東京新作家主義影展上映的日本 / 韓國合製

電影《景深之中》（2010），以及 2011 年至 2013 年與酒井耕合導的紀錄片系列「東北三部曲」（《海浪之音》、《海浪之聲》和《說故事的人》）。2015 年，他的作品《歡樂時光》在第 68 屆盧卡諾國際影展首映，並在諸多影展
中獲獎。《睡著也好醒來也罷》入圍 2018 年第 71 屆坎城
影展競賽單元，《偶然與想像》則在 2021 年第 71 屆柏林影展上獲得評審團大獎銀熊獎。他的最新作品，改編自村上春樹短篇小說的《在車上》，贏得第 74 屆坎城影展
劇本獎及第 94 屆奧斯卡金像獎最佳國際影片獎。

65

Ryusuke HAMAGUCHI
Born on Dec.16, 1978. After graduating from the University of Tokyo,
he worked in the film industry for a few years before entering
the graduate film program at the Tokyo University of the Arts. His
graduation film, Passion , screened at San Sebastian Film Festival in2008 as well as Tokyo FILMeX competition. He has been constantly
working on films since then. These include the Japan/Korea
coproduction film The Depths (2010) screened in Tokyo FILMeX anda series of documentary Tohoku Trilogy (Sound of the Waves, Voicesfrom the Waves and Storytellers) co-directed by Ko Sakai from 2011 to
2013. In 2015, His Happy Hour premiered at 68th Locarno InternationalFilm Festival and win awards at numerous film festivals. Asako I & II
was selected for the competition at 71st Cannes in 2018 and Wheelof Fortune and Fantasy won the Silver Bear Grand Jury Prize at 71st
Berlin in 2021. His latest film Drive My Car is based on a short story by
Haruki Murakami and it won the Screenplay Prize at 74th Cannes, andBest International Feature at 94th Academy Award.

一一重構：楊德昌 國際論壇

Panelist

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67

一一重構：楊德昌 國際論壇

此為「一一重構：楊德昌」國際論壇 會議手冊

論壇於 2023 年 7 月 22 日、7 月 23 日在臺北市立美術館視聽室舉行
共同舉辦臺北市立美術館
國家電影及視聽文化中心

論壇策劃
王俊傑、孫松榮、王君琦、林木材

臺北市立美術館 研究發展組
執行督導｜余思穎策劃執行｜曾炫淳
會場協力｜雷逸婷、許亞琦、何宣萱
助理｜林晏、林采穎

國家電影及視聽文化中心 研究策展處
執行督導｜陳睿穎
執行｜林奎章、楊偉誠、朱卿鋒、李秀儀
外賓接待｜陳婉伶、黃聖閎、程郁軒
視覺設計｜木木創設工作室
視聽技術｜劉崇德
口譯團隊｜譯藝有限公司
影像紀錄｜片子國際有限公司
特別感謝｜法國在台協會
會議手冊
督導｜余思穎
編輯｜曾炫淳、劉玉貞
譯者｜謝樹寬
設計｜木木創設工作室

2023 年 7 月出版© 版權所有．翻印必究

Printed to accompany the International Forum on Edward Yangat the Taipei Fine Arts Museum Auditorium, Taipei, Taiwan on
22-23 July, 2023
Forum Organizers
Taipei Fine Arts Museum
Taiwan Film and Audiovisual InstitutePlanners
Jun-Jieh Wang, Sing Song-Yong, Chun-Chi Wang, Wood Lin
Research Department, Taipei Fine Arts Museum
Chief: Sharleen Yu
Programmer: Hsuan-Chun Tseng
Coordinator: Yi-ting Lei, Ya-Chi Hsu, Hsuan-Hsuan Ho
Assistant: Yen Lin, Tsai-Ying Lin
Divsision of Research and Program, Taiwan Film and Audiovisual InstituteChief: Tan Joe-Eng
Coordinator: Kuei-Chang Lin, Iûnn Uí-sîng, Chu Ching-feng, Amber Li
Service Executive: Wan-ling Chen, Alexandre Huang, Yu-Hsuan Jacques Chen
Visual Designer: MUMU DESIGN STUDIOTechnical Support: Chung-Te Liu
Translator: Artie Translation
Documentary: One Work International Limit Corporation
Special Thanks: Bureau Français de Taipei
PamphletChief: Sharleen Yu
Editor: Hsuan-Chun Tseng, Yu-Chen Liu
Translator: Shu-kuan Hsieh
Designer: MUMU DESIGN STUDIO

Publication Date: July 2023
© All rights reserved.

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