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《黑眼圈之夜》台灣月x誠品書店
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《黑眼圈之夜》台灣月x誠品書店

10/11/2017 20:00 ~ 11/11/2017 02:00

誠品銅鑼灣店

公眾免費入場

 

人潮漸散

只剩光影故事音樂思緒

誠品無眠空間召喚你

 

不插電音樂會

擁有靈魂美聲的排灣族歌手-ABAO阿爆(阿仍仍)

《vavayan. 女人》2017年金曲獎「最佳原住民語專輯獎」

曲風多元融合搖滾、靈魂、雷鬼、R&B等,聽不懂歌詞的聽眾,在阿爆(阿仍仍)聲音豐沛地情感牽引下,依然征服聽眾雙耳。

 

他的歌,是吹散滿山芒花的風-Sangpuy桑布伊

《椏幹》(Yaangad)2017年金曲獎「年度演唱專輯獎」「最佳原住民語歌手獎」

桑布伊.喀達德伴.瑪法琉(Sangpuy Katatepan Mavaliyw)有著與生俱來、備受祖靈祝福與眷顧的獨特嗓音。他的歌聲傳遞了一個現代部落青年與古老靈魂之間的對話。

 

藝文講堂

寫情詩之必要 ~ 崔舜華

愛:欺騙與真理 ~ 鄧小樺、劉芷韻

愛情社會學 ~ 李明璁

小王子的玫瑰 ~葉珊

 

講者簡介

崔舜華,曾任雜誌編輯;著有詩集《波麗露》、《你是我背上最明亮的廢墟》、《婀薄神》(寶瓶文化);與蔡琳森合譯艾倫‧金斯堡詩集《嚎叫》(Howl and Other Poems)(木馬文化)。散文集《離群》(暫)預計於2018年出版。

 

鄧小樺, 畢業於香港中文大學中國語言及文學系,及後香港科技大學人文學部碩士。文學雜誌《字花》創刊編輯之一,現為編委;香港文學館總策展及理事會召集人。著有詩集《不曾移動瓶子》、《眾音的反面》、散文集《斑駁日常》、《若無其事》、訪問集《問道於民》。

 

劉芷韻,香港中文大學中文系畢業,1996年仍為中學生時出版第一本詩集《心的全部》。曾共同創立獨立出版組織廿九几。出版詩集《1998年夏天結束的時候》、《與幽靈同處的居所》,小說合集《我們的小說》、《hard copies》。近年與友人開辦工作室「貘記」。

 

李明璁,英國劍橋King’s College社會人類學博士,執教於國立臺灣大學社會學系;亦為麥田文化主編『時代感』書系。研究專長為東亞大眾文化與消費、影像與音樂社會學、身體社會學、性別與時尚等等。

 

葉珊,文人家庭長大;臺大戲劇系、英國Goldsmiths表演與文化研究碩士畢業。現任二魚文化發行人、「食物課」大助教,偶爾不務正業跑回劇場裡、鏡頭後當演員。

 

夜間電影院

52赫茲我愛你

導演        魏德聖 

編劇        魏德聖, 游文興, 蘇達 

演員        李千娜, 林慶台, 張榕容, 趙詠華, 林忠諭, 莊鵑瑛, 米非, 舒米恩‧魯碧 

影片時間        110min

出品年份        2016

片名《52赫茲我愛你》的由來與概念,也起因於魏德聖導演想放入『我愛你』三個字,他聽說了52赫茲鯨魚的故事後,才發現「52Hz」和他想要的主題契合。魏導:「52赫茲是世界上最寂寞的鯨魚,因為科學家發現牠發出的音頻沒其他同類聽得見,對我來說,牠就是寂寞的化身。剛好用52Hz聲音的概念,去傳達這個城市裡有很多人,心中渴望愛卻無法表達讓對方知道,所以與我想在電影中闡述的概念非常契合,對我來說『52Hz』就是一個需要被聽見的聲音,代表城市裡每一個孤單的人!」

 

海角七號

導演  魏德聖

編劇  魏德聖

演員  范逸臣、田中千繪、馬如龍、應蔚民、民雄、楊蕎安、馬念先、林宗仁、中孝介

片長  130min

出品年份2008

魏德聖讓《海角七號》除了搖滾的年輕態度、小兵立大功的票房佳績之外,也延續80年代台灣新電影的人文精神與母題:庶民或小人物的生活與勞作,土地上的人情與風景,台灣多元族群、語言、文化的海島移民社會,以及台灣複雜的歷史。此外,影片以戀人作為隱喻,描繪台灣與日本之間的歷史情仇、島嶼上南北對立與城鄉差距,以及海岸地帶的BOT開發等等,都是本片將持續引發討論的嚴肅議題。

 

藍色大門

導演  易智言

演員  桂綸鎂、陳柏霖、梁又琳

編劇  易智言

出品年份 2002

片長  83min

易智言刻意摒除台灣新電影中常見的眷村、老屋等符號,以出身中產階級的高中生為主體,描繪青少年青澀單純的愛情,以及對性向及自我認同的摸索。風格清新唯美,簡單的影像語言,傳達出青少年時而陰鬱糾結、時而陽光燦爛的情緒,為台灣電影開啟一扇青春大門。

 

當愛來的時候

導演  張作驥

演員  李亦捷、高盟傑、呂雪鳳、林郁順、何子華

編劇  張作驥

出品年份  2010

片長  108min

張作驥以未成年少女來春的未婚懷孕作為主軸,展開了多項女性議題,層次豐富而又深刻,包括:少女成長、母女情仇、愛與性、姊妹情誼、懷孕與生產、女性與家庭/家政、女人在父權社會中的妥協、折衝、與拮抗等等。本片主要人物奇特的「移民」身分與特殊的「鄉愁」──從金門到台灣,究竟只是「內部遷徙」?抑或是「外來移民」?此種「中間狀態」,在本片中以抒情的返鄉段落,詰問了台灣歷久彌新的「認同」問題。

 

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Sleepless in Eslite

Taiwan Culture Festival X eslite bookstore

10.11 Fri 20:00 ~ 11.11 Sat 02:00

eslite Causeway Bay Store

Free Admission

 

Shopping crowd dissembles

Only lights and shadows linger

Stories, music, whispering thoughts

Summoning you from the never asleep eslite

 

Unplugged Music Taiwanese Vocal

Singer of the Paiwan tribe with beautiful voice from her soul.

vavayan -- 28th Golden Melody Awards Best Album in an Aboriginal Language

ABAO (Aljenljeng) captures the audience with her rich and passionate singing, be it Rock, Soul, Reggae, Rhythm & Blues, or a fusion of genres, breaking the language barrier of lyrics.

 

His songs blowing and bending sliver grass in the mountains.

Yaangad -- 28th Golden Melody Awards Album of the Year and Best Vocalist - Aboriginal Language

Sangpuy Katatepan Mavaliyw comes from an ancient Pinuyumayan tribe where mountain meets ocean. A singer with an immemorial voice hiding in his young shell. Let Sangpuy's unique voice bring you back to the origin, and cure your soul.

 

Lectures on Love

It is Vital to Write Love Poems by Cui Shun-Hua

Love: Deception and Truth by Tang Siu Wah and Sim Lau

Sociology of Love by Lee Ming-Tsung

The Little Prince’s Rose by Yeh Shan

 

Midnight Cinema

52Hz I Love you

Director: WEI Te-Sheng

Duration: 110 min

“This musical film incorporates a series of romantic stories with beautiful original songs. The stories are set in modern Taipei City, Taiwan, on Valentine's Day. The title is inspired by the 52Hz whale, dubbed the world's loneliest whale because no other whales could hear its unusually high frequency call, thus reflecting the loneliness that might be felt by Taiwanese who are looking for love in the city.” (Summary extracted from IMDb)

 

Cape No. 7

Director: WEI Te-Sheng

Duration: 130 min

The miraculous box-office success of Cape No.7 in 2009 triggered a rapid revival of Taiwanese cinema after the long hiatus of the 1990s. Director Wei Te-Shen worked

with Edward Yang in the mid-90s. Perhaps that’s why Cape No.7, beyond being a financial success, also demonstrated the influence of the Taiwanese New Cinema in showing the everyday life of the common people; scenic shots of Taiwan’s landscape; the multiple ethnicities, languages, and cultures of an immigrant society; as well as its depiction of Taiwan’s complicated colonial history. Though a love story and a popular melodrama, Cape No.7 kindles serious debate on the love-hate relationship between Taiwan and Japan, opposition between northern and southern Taiwan, the city-country conflict, and capitalistic exploitation of Taiwan’s natural resources. (Extracted from http://toolkit.culture.tw/)

 

Blue Gate Crossing

Director: YEE Chin-yen

Duration: 83min

Director YEE Chih-Yen avoided symbols commonly seen in Taiwan New Cinema films, such as military dependents' villages and old houses, instead focusing on the innocent and simple love of young people and their exploration of sexual and selfidentity. Adopting a refreshing and aesthetically pleasing style and employing the use of simple images and language, the film is said to have opened the doors for the growth of youth-oriented films in Taiwan. (Extracted from http://toolkit.culture.tw/)

 

When Love Comes

Director: CHANG Tso-Chi

Duration: 108min

The narrative of When Love Comes centers on a girl’s pregnancy, and a series of female/feminist issues unfolding in the process—including the girls’ own life story, the love-hate relationship between the girl and her mother, and so on. The issues of love, sex, sisterhood (including implied lesbian affection in the bathing scene), women and domestic politics, and women’s living conditions are also treated in the film. Moreover, the polygamous practice of the girl’s father, and the girl’s extensive family that comprises non-blood-related relatives, rewrite the definition of family. The main characters of the film share migratory experiences: they are all people moving from Kinmen Islet to Taiwan Island. Are they “immigrants” or “Taiwanese” then? By emphasizing the state of “in-betweenness”of Kinmen migrants in Taiwan, the film also highlights the long-running debates on provincial heritage politics in Taiwan’s society. (Adapted from http://toolkit.culture.tw/)