跳格-香港國際舞蹈影像節 2022|城市當代舞蹈團 Jumping Frames–Hong Kong International Movement-image Festival 2022|CCDC

1.9-2.10

香港逸東酒店 EATON HK 8-11.9

百老匯電影中心 Broadway Cinematheque

城市當代舞蹈團 City Contemporary Dance Company (CCDC)

城市當代舞蹈團是香港首個全職專業現代舞團，以體現香港當 代文化為宗旨，編創風格鮮明的作品，刻劃當代舞蹈發展軌跡。

舞團於 1979 年由曹誠淵創立，現由香港資深舞蹈家伍宇烈擔 任藝術總監，擁有超過二百齣本土編舞家的完整舞碼，又經常 與藝術家跨界合作，致力在亞洲開拓舞蹈新想像。舞團代表香

港進行頻繁的國際文化交流活動，先後進行了二百七十多場海 外演出，備受國際藝壇重視，更被譽為「當代香港藝術靈魂」。

City Contemporary Dance Company (CCDC), the flagship of modern dance in Hong Kong, undertakes to blaze the path of contemporary dance scene with extraordinary performances representing contemporary Hong Kong culture. Founded in 1979 by Willy Tsao, and now directed by Yuri Ng, CCDC has presented more than 200 original works by leading choreographers, and pioneered in Asia to reimagine the possibilities of modern dance through innovative collaborations. Representing Hong Kong in more than 270 overseas performances at the world’s foremost dance stages and festivals, CCDC is regarded as ‘the artistic soul of contemporary Hong Kong’.

跳格—— 香港國際舞蹈影像節 Jumping Frames

——

Hong Kong International Movement-image Festival

( 前稱「跳格國際舞蹈影像節」

Formerly known as ‘Jumping Frames - Hong Kong International Dance Video Festival’)

「跳格

香港國際舞蹈影像節」於 2004

年由城市當代舞蹈團

創辦，是亞洲最具規模的舞蹈影像盛事。其致力於呈現風格迥 異、影像與身體之間跨媒界的展演，更為舞蹈影像開發多元及 可能性，探尋新世代形體和影像的全新意涵。

Presented by the City Contemporary Dance Company (CCDC) since 2004, ‘Jumping Frames - Hong Kong International Movement-image Festival’ is the only festival of its kind in Asia committed to promoting the intersections between performance making and moving image, cinechoreographic interventions and the body.

前言 FOREWORD

點解要改名？

「跳格」曾經將名字由「舞蹈錄像節」改為「舞蹈影像節」，呢次又將英文名由 dance video 改成 movement-image。Movement-image 係受到 moving images（流動

影像）嘅啟發，後者涵蓋好多唔同種類嘅視藝作品，但各作品嘅共通點就係必須 呈現動態。

大多數人嘅舞蹈經驗係從觀看開始，經過大腦神經，激發身體感知，人就想手舞 足蹈。我認為，只要可以令人嘅心、身想郁嘅嘢，就係舞蹈。同一道理，唔係所

有嘅流動影像都係舞蹈影像，只有能夠喺觀看者嘅身體上發揮作用嘅視覺作品， 先至係舞蹈影像，無論佢係唔係通過身體來呈現。

因為疫情，觀眾嘅觀看經驗已經好唔同。影像呈現嘅手段同方式發展迅速。咁舞 蹈呢？舞蹈影像又可以帶啲乜嘢畀我哋呢？

我哋喺 movement 同 image 之間加上 hyphen（連接號），係希望兩者重回一個相互 啟發嘅位置，而唔係只由一方去主宰。

俗語話：「行不改名，坐不改姓。」但係呢一句話對當代藝術嚟講似乎並唔適用， 今次我哋改名係為咗表達我哋呢一刻嘅想法，但係我哋非常樂意睇到未來有人願 意繼續更新。

伍宇烈 CCDC 藝術總監

What’s in a name?

‘Jumping Frames’ has been named in Cantonese as “mou5-dou6-luk6-zoeng6-zit3” and later became “mou5-dou6-jing2-zoeng6-zit3”. This year, we change the subject again from “dance video’ to “movement-image”, hence, we have a new name in English, Jumping Frames – Hong Kong International Movement-Image Festival. The term we construct is inspired by the idea of “moving images”, which covers a broader variety of visual artworks that has the appearance of movement.

Most people experience dance starting from their eyes. The images passing through their brain nerves and sensory of the brain, stimulating their perception to trigger the dancing. I think, any stimuli that moves your body and soul, is dance. Thus, in the same way, not all moving images are movement-image. Any moving images that affect the viewers and when their bodies react to the visual, are considered movement-image, body or non-body.

Due to the pandemic, our viewing experience has changed drastically, the way of presenting moving images is rapidly developing. How about dance? What does dance on film bring us?

We add a hyphen between movement and image with the hope that the two elements inspire each other and complement each other.

So they say, “Be proud of one’s name and stand by it.” This saying may not be true to contemporary art. We change our name this year to express our views of the moment. Adapting to trends, growing with our audience, we keep redefining our festival, and will be happy to start afresh every year.

策展人的話

紀念已故的一行禪師，今年我以「身體」的概念導向他的 正念修習。片單選擇、裝置展覽、論壇、表演介入以及節 內其他內容，皆成為物質性和挑釁性的玄奧容器和通道， 以理解軀體和靈魂的逾越關係，同時觀照身體及其存在的 形式。

今年「跳格」提出了散文式的創作提議，邀請藝術家、編舞、 舞者、電影創作人、策展人、研究學者及我們最重要的觀 眾一起參與。這個想法是對當下我們身體的延伸、扭曲和 消失的恐懼，進一步的反思。我們的身體長期活在虛擬世 界中，時時刻刻感到時空錯亂的困擾。「跳格 2022」以美 麗新世界為題，期望跨越影像內容的形式，而著眼於作品 內容的靈性體驗。

以「此地此身」作為主題，連貫了今屆四部委約作品，項

目與香港文藝復興基金會的「奪目影像」合作，激發舞蹈 從業者以外，以散文電影形式展開與身體有關的對話。我 們希望提出以散文電影作為研究和表達的工具，以不同的 方式和觀點審視身體及身體以外的聯繫。四部委約作品以 藝術家主導的聲音質疑身體的脆弱，嘗試解讀自己對現狀 的感知。猶如日記般，這開放式的創作模式探索置身當下 的影像及文字，透過這些材料和過去檔案拼貼形成一個意 識流的影像詩。

還有一個非常重要的單元，特備策展節目 「身體檔案： 港台的歷程和想像」，通過台灣策展人黃柏喬與香港策展人 蔡倩怡的對話將台灣與香港身體的歷史故事穿插對應，娓 娓道來。精選的電影闡述身體作為存在的載體，如何重塑 我們的記憶和與歷史和城市景觀的關係。

作為新上任舞蹈影像節總監兼策展人，這是我一種延伸編 舞和影像創作的挑戰和平台。對我來說，承擔這個新的責

任意味著對「跳格」抱持有不同的考慮和視野，對影展宏 觀和微觀發展的各種想像，以及電影節在放映以外可能呈 現的方式如表演介入和影像延伸等。我希望能繼續開拓論 述和表演性的節目， 保持開放的態度及持續和相關業界交

流與合作以注入新能量，帶來新的跳格！

策展人 / 影像節總監 葉奕蕾

CURATOR’S NOTE

In memory of the passing of Zen Master Thích Nhat Hanh earlier this year, I would like to dedicate the possibilities of the “Body” to his teachings. As a way of navigating the materialities and provocations found within the programmes presented in this year’s ‘Jumping Frames’, Zen Master’s work is useful in helping us see the body as a transcendental vessel and passageway to process our innate profanity and sacredness, whilst exposing and deconstructing its profound existences and forms.

This year, the festival proposes an essayistic discussion amongst invited artists, choreographers, dancers, filmmakers, curators, researchers, and most importantly, our audience. The idea is to provide a further introspection into the fears of the body – its extensions, distortions, and disappearances – which relates to the universal dislocations of our collective existence in the present (virtual) moment. ‘Jumping Frames: Body Non Body’ aims to go beyond the trajectory of formal artistic development and probe at the intrinsic spirituality of the initial encounter with works of art.

The four new co-commissioned works in ‘All That Is Happening’ marks the start of an exciting new partnership with ‘Eye Catcher’ to instigate an extended dialogue that can grow beyond dance practitioners through examining the body in the most diverse sense with the essay film form. We want to expand the literature and discourse on cinema, technology, and the body, and to counter the body/non-body, dance/ non-dance binaries with a trans-disciplinary approach. Tapping into the author-centric nature of the essay film, this commission focuses on questioning the possible de-constructions of body and their vulnerabilities by artists in new and radical ways.

Another highlight is ‘Body Archive: Trajectory Re-imagined for Hong Kong and Taiwan’, a programme that explores the historical narratives of the body in Taiwan and Hong Kong through a dialogue between Taiwanese curator Joe Huang and Hong Kong curator Emilie Choi Sinyi. This selection imagines the capacity of bodies as existential agents that continually reinvent our memories and relationships to our lands and stories.

My new appointment as the festival director expands my commitment to the form beyond the capacity of my practice as a filmmaker and dance artist. Having this new responsibility pushes me into taking different perspectives and positions when considering the macro- and micro- developments of cine-choreographic creation, the possibility in the hybrid modes of movement-making and image-making, and the intervention of liveness into an expanded cinematic form. I hope my proposal will gather exciting new energies and imaginings across the artistic communities of Hong Kong, regionally, and internationally.

Curator / Festival Director, Elysa WENDI

Open -ing Film 開幕 電影

此地此身 All That Is Happening

1/9 [ 四 THU ]

7:30 pm

香港逸東酒店 1 樓 Kino

Kino, 1/F Eaton HK

一場四位創作者之間的對話，以共同體的形式探 索與觀照身體如何適應移動、過渡與自我叩問的 過程。藉此面對我們的生存之狀與環境。我們當 下的身體成為折射的載體，生命與回憶與之緊密 扣連。

這項目的靈感源自 2012 年導演 David Hinton 和 編舞家 Siobhan Davies 合作的散文電影《 All This Can Happen》。該片透過重組舊電影片段和檔 案，將日常生活的行為、動作和場景以富詩意的 圖像並列、呈現，擴闊對「舞蹈」/「編舞」等這 概念的想像。

四個委約作品由「跳格 2022 」和文藝復興基金 會「奪目影像」共同委約。

Four practitioners gather to discuss their observations on the ways that the body adapts to the processes of transition, transposition, and self-reflection in a collective inquiry on how we may respond to our environments and the current state of the world.

Inspired by the essay film All This Can Happen by filmmaker David Hinton and choreographer Siobhan Davies, where an intriguing activation of old films and archival materials illuminate the poetic possibilities of ordinary every-day movements to expand the lexicon of how to imagine dance and choreography, this project features four new films co-commissioned by ‘Jumping Frames 2022’ and ‘Eye Catcher’, a project under the Renaissance Foundation.

�界 首映 WORLD PREMIERE

自如身 If I Can’t Dance

導演 Director

張紫茵 Dorothy CHEUNG

香港 Hong Kong

2022 / 25 分鐘 mins

�東� Cantonese

中��� Chinese & English subtitles

她面對沒有盡頭的復健、她的身體無法忘記 傷患、她想達到別人的要求，卻摔了一跤…… 以三位舞者的受傷經驗，以及身體拉扯的影像 為喻，思索如何與創傷共存，在土崩瓦解的世 界中走下去。

She faces endless rehabilitation; her body keeps recalling the injury; she wishes to appease, yet she fell……Three dancers who have confronted injuries filled the visual with strain on the body. The film ponders how to co-exist with the trauma and keep going after one’s world falls apart.

張紫茵為導演及藝術家，現於香港生活及工 作。她的作品圍繞身份的雙重面向：個人與 政治、記憶與遺忘。活動影像作品曾於荷蘭 Kunstinstituut Melly 及荷蘭國家電影資料館等

展出，並入選鹿特丹國際電影節、列斯國際電 影節、台灣國際紀錄片影展及里斯本酷兒電影 節等。

Dorothy Cheung is a filmmaker and artist currently based in Hong Kong. Her practice explores the notion of identities and home through a double perspective - personal and political, memory and forgetfulness. Her moving-image works are internationally exhibited in Kunstinstituut Melly (formerly known as Witte de With Center for Contemporary Art), EYE Filmmuseum and Korzo Theater, and selected for film festivals including International Film Festival Rotterdam, Leeds International Film Festival, Taiwan International Documentary Festival and Queer Lisboa.

失去的部分 Lost a part of

身體的滯緩，趕不上現實生活的變化。當屬於 手的記憶被反覆召喚，口腔的空缺最終被人工 物料填補，身體若有記憶，那該如何回應這幾 年間置身此地的經驗？三個人，各自敘述身體 無以名狀的變化，試 圖 尋找幽微的軌道。

Stagnation in the body cannot keep up with the changes in real life. When memory of the trembling hand constantly haunting, when the cavity is filled by artificial materials - if body remembers, how should it response with the years of traumatic past? Three of us, describe the indescribable body changes try picking up the hints and signs.

陳巧真為香港攝影師及獨立電影製作人， 2014 年畢業於香港城市大學創意媒體學院。 自 2013 年參加長洲「紀錄片大師班―青年訓 練營」後，便投身拍攝紀錄片。其攝影作品 《 32+4 》入圍 2015 年金馬獎，並獲第六十一 屆德國奧柏豪森短片展第二大獎。

Chan Hau-chun is an independent filmmaker and photographer in Hong Kong. Graduated from The City University of Hong Kong in 2014, Chan started her career in documentary film endeavor after her active participation in Cheung Chau Master Documentary Camp in 2013. Her notable work, 32+4 was nominated for Golden Horse Best Documentary Section in 2015 and was awarded the Principal Prize at the 61 st International Short Film Festival Oberhausen.

180°·78°14'n 15°36'e·2013

乘著一艘帆船遠征北極高地，旅途中，我被送 往不同的峽灣。面對一片廣大的荒涼風景，我 感到非常渺小。我失去方向，根本無法確定自 己在哪裡。因此，每次著陸，我便用腳架將攝 錄機穩固妥當，盡可能穩定和緩慢地反復進行 180 °平移拍攝。就好像我每次拍攝舞蹈表演前 用三腳架定位演練，而攝錄機則記錄了我們一 直演練的方式。

Being on an expedition aboard a ship in the high arctic, I got transported to different fjords throughout the journey. Facing the vast, deserted landscape, I felt extremely tiny. I basically lost my orientation, not able to locate myself, at all. So, with a sturdy video tripod and a camera, all I did during each landing was to conduct 180° pan shots, repeatedly, as steady and slowly as possible. As if, I was rehearsing for a dance performance with my tripod every time during shooting, while the camera documented the way we practice all along.

一直以材料為實驗性載體發展的視覺藝術家 莫頌靈，以數碼影像和明膠實驗片為主要創作 平台。 2013 年，她在美國杜克大學取得於「實 驗與紀錄藝術」領域的碩士學位。 2006 年起， 莫頌靈的作品已在世界各地展演。 2022 年， 她獲香港 1a Space

支持，首度舉行個展及出版 書刊系列。

As an experimental artist, Jolene Mok takes digital video art & celluloid experimental film as her major creative platforms. Mok earned her M.F.A. in Experimental & Documentary Arts at Duke University in 2013. Since 2006, Mok’s works have been shown worldwide. She has been on itinerant taking part in artist residency programme from 2011 onwards. In 2022, Mok holds her first solo exhibition with publication series supported by 1a Space in Hong Kong.

海坐下來時 沒有風 As I Imagine My Body Moving

曾經的舞者，因一次突發的意外，翻開了深埋 於身體二十多年的傷痕。記憶不斷重構、拆毀， 當下，發病的身體不能移動，卻疑似穿梭時空 般於不同城市行走。時空邊界漸變模糊，折射 於覆疊的影像中，挖掘自身的內在，探問過去 現在的偶然。

A former dancer encountering a sudden health issue, unveiled a deeper scar that concealed inside her for over 20 years. The film explores the notion of kinaesthetic separation between the body and its stream of consciousness, sometimes dislocation, or disconnection. Her immobilized body bearing illnesses somehow wandering in distorted time and space. The depersonalisation is perhaps a detachment one could have learned about our body and its autonomy.

葉奕蕾是旅居香港多年的舞蹈藝術家及電影工 作者。 2008 年起，她以電影、表演和策展專 案為媒介探索舞蹈創作的不同可能性。她的創 作及影像作品一直圍繞地方、時間和傳記片段 的抽像記憶去探索。她其中一齣備受注目的短 片《慢遞 1958 》，榮獲 2018 年南方影展最佳 實驗片獎；另一作品《原諒》，在 2020 年香 港藝術館電影節榮獲最佳紀錄片獎。

Elysa Wendi is an artist/ filmmaker based in Hong Kong. Since 2008, she began experimenting on choreographic ideas with the medium of film, performances and curatorial projects. Preoccupied with the abstraction of memory from place, time and biographical traces, Wendi explores these themes in her live and filmic works. Her short film 1958 Delivery won the Best Experimental Film award at the 2018 South Taiwan Film Festival, and her film Forgive or Not to Forgive won Best Documentary at Hong Kong ArtHouse Film Festival 2020.

「 這身體不是我。我不受此身體所限。

我是無限生命。從沒誕生，也永不會死去。 」

一行禪師

�This body is not me. I am not limited by this body. I am life without boundaries. I have never been born, and I have never died.�

Thích Nhất Hạnh

INTERNATIONAL Feature Film Selections

身體 敘事

跨界形體藝術表演者及編舞家尾竹永子自 2011 年東日本 � 級世紀大地震，引發海嘯及 福島核事故後，六度前往已疏散、只剩一片荒 涼的福島。從她第二次福島之旅開始，便與攝 影師兼東亞歷史學者威廉•莊士敦同行。從莊 士敦所拍攝的 二 萬 � 千多張照片挑選而出，配 合尾竹的文字再經她重組、剪輯、串連，並加 上原創音樂，將帶點超現實意味的災後福島化 身成她的舞台。藝術家從身體溢出來的悲傷、 憤怒與悔恨在福島孤寂的場景無聲吶喊。《身 在福島》作為一個默默的見證、一份深深的悼 念和一點溫柔的同理，揭示人為疏失所帶來的 後果。尾竹以身體作導線，把福島帶往世界， 欲以舞者之軀，作出溫柔、堅定，又美麗、安 靜的抗議。

日本及美國 Japan & USA

2022

107 分鐘 mins / DCP

無對白 No dialogue

中英字幕 Chinese & English subtitles

導演 Director 尾竹永子

美國紐約現代藝術博物館

2022 選片

Museum of Modern Art's Doc Fortnight, Official Selection, 2022 (New York)

Movement-based, interdisciplinary artist and choreographer, Eiko Otake traveled six times to the evacuated and desolate Fukushima in the wake of the 2011 triple disaster - earthquake, tsunami and nuclear meltdown. Collaborating with William Johnston, a photographer and scholar of Japanese history from her second trip onwards, the film was crafted from tens of thousands of photographs and personal text. Accompanied by an original score, Otake transforms the surreal, irradiated landscapes into a site for performance. The artist’s body, embodying grief, anger and remorse, is captured with the cries of the Fukushima landscapes. A project of witness, remembrance and empathy, A Body in Fukushima grapples with the reality of human failure. With her own body as conduit, taking Fukushima to the world, Otake whispers her gentle but powerful protest as a body-worker.

這部直擊心靈的紀錄片是一項長達五年遊走 巴西各地進行的信仰文化民族 � 研究，以富 有詩意和澎湃激情的方式表達。《神遊巴西》 記錄了巴西共 17 個州約 120 種信仰儀式，從 羅馬天主教到非裔傳統崇拜與天主教融合而 成的信仰「烏班達」 (Umbanda) 和「坎冬博」

(Candomblé) 。巴西囊括世界上最多樣化的精 神文明，原住民、非洲和歐洲文化共冶一爐。 法國電影製作人及藝術家文森．穆恩和普莉西 拉 泰蒙以本片探索心醉神迷的亢奮精神狀態丶 祭祀音樂丶幽靈幻象和各種靈異儀式。他們深 入祕境，拍攝許多從未公開的儀式。鏡頭探入 神迷狀態的人群之中，讓觀眾彷如置身其境。 熱血沸騰的音樂丶奉獻者的聖歌丶無間斷的舞 蹈，讓那肉眼看不見的東西呼之欲出，不禁思 考其中超越的意涵。

巴西 Brazil 2018

88 分鐘 mins / DCP

無對白 No dialogue

導演 Directors 文森．穆恩

Vincent MOON

普莉西拉．泰蒙 Priscilla TELMON

2017 年荷蘭阿姆斯特丹國際紀錄片電影節參展影片 International Documentary Film Amsterdam (IDFA), Official Selection, 2017 2018 年丹麥哥本哈根國際紀錄片電影節 最佳音樂電影提名及參展影片

Sound & Vision Award Nomination and Official Selection, ‘CPH:DOX’ 2018 (Denmark)

This contemplative documentary is the result of five years of ethnographic research into the sacred culture of Brazil, through a very poetic and sensorial approach. Documented around 120 rituals across 17 states of Brazil, from Roman Catholic to Umbanda and candomblé—mixtures of African traditions with Catholicism, where the Indigenous, African, and European cultures live so intrinsically together, Brazil has the most diverse spiritual culture in the world. French filmmakers and artists Vincent Moon and Priscilla Telmon investigated the relationship between trance, ecstasy, music, apparitions and spiritual rituals. Many of the ceremonies they filmed had been recorded on screen for the very first time, with the camera intimately close in the midst of the ritual, allowing us to become part of the mystical experience. Music pulsating at high rhythms, chants of the devotees and nonstop dances, creating in its core a new perspective about what might be the invisible and how to deal with it in a transcendental way.

由行為藝術教母瑪麗娜．阿布拉莫維奇擔任旁 白，坂本龍一配樂，《 角男�� 》集多重視覺 與舞蹈意象，探索祭祀儀式、身體和雕塑中萬 物皆有靈的源頭及其當代意義。法國／比利時 編舞及表演者達米恩．扎勒以半鹿半獵人的虛 幻角色穿越世界之間，帶領觀眾踏上詭異的旅 程。影片的拍攝地點包括峇里島、日本和蘇格 蘭絕美的火山景觀，及巴黎羅浮宮博物館最古 老的部分，以引人入勝的祭祀儀式，如峇里的 出神、火葬、血獻祭和日本的阿蘇火山祭及當 代舞片段，展現人類與自然之間古老而複雜的 靈性關係。《 角男�� 》是一部夢幻又原始丶 古代與現代時間界線矇糊的真實紀錄片，亦是 一部美得令人驚艷的藝術作品。

法國 France 2016

71 分鐘 mins / DCP

英語 English 中文字幕 Chinese subtitles

導演 Director

吉爾．德爾馬斯

Gilles DELMAS

編舞及演出 Choreographer & Performance

達米恩．扎勒

Damien JALET

旁白及演出 Voice & Performance

瑪麗娜．阿布拉莫維奇

Marina ABRAMOVIC

原創音樂 Original Music

坂本龍一

Ryuichi SAKAMOTO

2018

傑出成就獎

Outstanding Achievement in Dance Film Award, ‘Choreoscope - Barcelona Dance Film Festival’ 2018

Narrated by legendary performance artist Marina Abramović with score created by composer Ryuichi Sakamoto, The Ferryman is a lush visual and choreographic journey into the animistic roots of rituals, dance and sculpture, and their contemporary relevance. Rich with metaphors, Belgian-French choreographer and dancer Damien Jalet takes the viewer on an outlandish journey as a halfdeer, half-hunter character across the threshold between worlds. Filmed in the stunning volcanic landscapes of Bali, Japan and Scotland and inside the oldest sections of the Louvre Museum in Paris, the ancestral spiritual bond between men and nature is portrayed here through a series of striking ceremonies (trance, cremations and sacrifices rituals in Bali, mountain worship in Japan) and contemporary dance performances. Oneiric and raw, blurring the line between archaic and contemporary, The Ferryman is both a fascinating documentary and a work of art of breathtaking beauty.

20 世紀初，一群朝鮮勞工從韓國千里迢迢到 古巴謀生，希望發財致富衣錦還鄉。但他們到 埗後被困在龍舌蘭農場艱苦工作，朝不保夕生 活窘迫，回國無望。一個世紀後，他們的後代 終於接受古巴作為家園。牢牢紮根於這個國 家，仍與故鄉保持絲絲聯繫，流亡了一百年的 軀體……他們變成了什麼？

「如果一千年這樣過去，更多新的國將要形 成。種族要麼消失，要麼混雜在一起……在遙 遠的地方，他們像奇蹟一樣活在自己的時間 之中……就像愛你的人一樣。如果我們彼此相 愛，我們的時間永遠不會消逝。古巴的孩子在 跳舞。他們跳著『 時間之舞 』。 」

�國 Korea

2009

94 分鐘 mins / DCP 韓語及西班牙語 Korean & Spanish 英文字幕 English subtitles

導演 Director 宋一剛 SONG Il-gon

2009 年韓國第 14 屆釜山國際電影節參展電影

The 14th Busan International Film Festival, Official Selection, 2009

2011 年日本山形國際紀錄片電影節

Yamagata International Documentary Film Festival, Official Selection, 2011

In the early 20 th century, a group of Joseon laborers traveled from Korea to Cuba in the hopes of returning with a fortune. But they were forced to toil away on henequen farms, never making enough money for the trip back. A century later, their descendants eventually accept Cuba as their home. Firmly rooted in their new country and maintain multiple linkage to their homeland, bodies in expatriation for a hundred years… What have they become?

‘If 1000 years pass like that, more countries will be made. Races will either disappear or be mixed together… In a faraway place, they lived in their own time like some miracle… Like someone who loves you. If we love each other, our time will never die. The children in Cuba here dance. They dance the “dance of time”.’

導演李立劭以檔案紀錄片的概念拍攝母親丶台 灣第一位人體模特兒、現代舞先行者及資深舞 蹈教育工作者林絲緞的傳奇人生。 1950 年代， 戰後台灣籠罩在白色恐怖的肅殺氛圍之中，社 會保守、封閉，林絲緞從一個美術品前被描繪 的對象，反轉創作的主客位置，力抗物化女性 模特兒的觀點，毅然站出來，舉辦以自身為主 體的裸體畫展及攝影展，勇於實踐女性身體自 主，引起社會矚目與爭議。眾多台灣藝術史上 呼風喚雨的名字，畫家張義雄、廖繼春、陳景 容、席德進、雕塑家楊英風、攝影家鄧南光、 柯錫杰、郎靜山，也曾跟她合作。她的身體及 舞蹈體態大量出現在各類藝術作品之中，成了 整個年代的藝術象徵。她懷著「我沒有做錯事」 的信念追求女性解放、平權，以一輩子實踐「身 體舞蹈，是最當下的社會性」。年過八十歲， 林絲緞至今仍用身體燃燒她的理想與熱情，她 的人生路，實為一部與台灣社會對話的女性藝 術史。

台灣 Taiwan

2021

83 分鐘 mins / DCP

�� Mandarin

中英字幕 Chinese & English subtitles

導演 Director 李立劭 LEE Li-shao

演出 Performance

林絲緞 LIN Ssu-tuan

2021 年台灣第 58 屆金馬獎最佳紀錄片獎入圍 Best Documentary Shortlist, ‘58th Golden Horse Awards’ 2021 (Taiwan)

2021 年台灣第 56 屆金鐘獎非戲劇類節目導演獎 Non-drama Program Director Award, ‘56th Golden Bell Awards’ 2021 (Taiwan)

In the form of archival documentary, director Lee Li-shao studies his own mother, Lin Ssu-tuan, recounting her life story as Taiwan's first nude model, a pioneer of Taiwan contemporary dance and an inspiring dance educator. In the 1950s, post war Taiwan on the rampage of the white terror, despite its conservativeness and narrow-mindedness, Lin refused to accept model’s role as the subject of male gaze and claimed her own voice by organizing her nude portraits and photography exhibitions that aroused controversy in Taiwan. She fought against the objectification of the female body and actively took over the right of artistic expression and body autonomy. A whole generation of prominent Taiwan artistic figures including painters Zhang Yi-xiong, Liao Chi-chun, Chen Jing-rong, Shiy Dejinn, sculptor Yang Yu-yu, photographers Deng Nan-guang, Ko Sichi, Lang Ching-shan have all collaborated with her. Her dance body became the vessel to create and represent art of her era. She followed her heart and remained passionate in realizing her ideology, ‘dance represents the society at the moment’, which pulled her closer to seek gender equality and women’s emancipation. Over the age of 80, Lin Ssu-tuan still fervently pursues her ideals and passions with her body; her path of life is indeed a book of female art history that communicates with the society in Taiwan.

Before We Go

布魯塞爾善終療養院三位病人頑疾纏身，拖著 虛弱的身體，跑到布魯塞爾皇家鑄幣局劇院 與編舞梅格．史都華、比諾．拉尚布爾、西蒙 娜．奥格特洛尼及其他演員和音樂家見面，一 起參與一場獨特的藝術交流。在裝飾華麗的國 家歌劇院裡，以音樂和舞蹈，藉瀕死的身軀歌 頌精神的自由，向生命和人類的脆弱致敬。片 中赤裸裸的展示身體病弱的局限與藝術隱喻交 織，對死亡的涵義、人與死亡的關係及迎接人 生終點的態度拋出疑問。《離別之前》大膽打 破研生談死的禁忌，正視瀕死所承受的困惑、 恐懼和臨終前對生命的期待與追求。

百老匯電影中心

Broadway Cinematheque

影片含有裸露場面及性題材。

The film contains nudity scenes and sexual content.

Three patients from a palliative care unit in Brussels, approaching the end of their lives, whose bodies are weak and fragile with age and illness, meet choreographers Meg Stuart, Benoît Lachambre and Simone Aughterlony, actors and musicians in Brussels’ Royal Theatre of La Monnaie. They all take part in a unique experience of music, dance and silence. In the sumptuous decor of the Opera House, their quest becomes a tribute to life and human fragility, between reality and representation, tragedy of the body and freedom of the spirit. Together they summon art to question their own relationship with death in a physical and lyrical way. Before We Go lifts the veil on the ever taboo subject – the theme of death – trying to give shape to the doubts, hopes and fears that the end of life engenders.

比利時及法國 Belgium & France

2014

82 分鐘 mins / DCP

法語及英語 French & English

英文字幕 English subtitles

導演 Director 佐治．里昂

Jorge LEÓN

參與藝術家 Participating Artists

梅格．史都華 Meg STUART

比諾．拉尚布爾

Benoît LACHAMBRE 西蒙娜．奥格特洛尼 Simone AUGHTERLONY

⾹� 首映 HONG KONG PREMIERE

狂 舞戀 人 AVIVA

11/9 [ 日 SUN ] 5:30 pm

百老匯電影中心 Broadway Cinematheque

影片含有裸露場面及性題材。

The film contains nudity scenes and sexual content.

年輕巴黎女孩和紐約男孩於網路邂逅，會面後 隨即墜入愛河，共譜一段離離合合、愛恨交纏 的愛情故事。

《狂舞戀人》全片以現代舞貫穿，探索性別、 情慾和性愛。斷續的片段和非線性的敘述就 像任何一段真實的關係一樣超乎現實。導演 大膽的選擇置入兩名演員，舞者芭比 珍 史密 斯和歐爾 · 施萊伯(同時也是本片的編舞)， 2 男 2 女演出男女主角，不時互換性別，性別流動， 為我們每個人體內也有異性特質的概念具體 化。

劇中演員皆為舞者，大部分來自以色列巴希瓦 舞團。舞蹈無縫融入敘事，成為角色對話的方 式，有婚禮的喜悅、有半醉的迷惘。性與舞蹈 是本片的主要語言，表達慾望、渴求、嫉妒、 愛，以及生活中的各種感受和經歷。

美國及法國 USA & France

2020

116 分鐘 mins / DCP

英語 English

中英字幕 Chinese & English subtitles

導演 Director 鮑茲．也金

Boaz YAKIN

編 � Choreographers 芭比．珍．史密斯

Bobbi Jene SMITH

歐爾．施萊伯 Or SCHRAIBER

2020 年「Choreoscope 西班牙巴塞隆拿舞蹈電影節」 舞蹈電影優秀成就獎

Outstanding Achievement in Dance Film Award, ‘Choreoscope - Barcelona Dance Film Festival’ 2020

The movie tells the story of two transatlantic lovers Aviva and Eden going through a tumultuous romance after meeting online.

Aviva explores gender, romance, and sex through music and plenty of dance. Disorienting fragments and non-linear narrative feel as surreal as any true-to-life relationship drama. Yakin makes a bold choice in adding two more actors to the mix, Bobbi Jene Smith and Or Schraiber (who also are the co-choreographers). They play the feminine and masculine sides of Eden and Aviva, interchangeably swapping genders in the middle of scenes. The masculine and feminine qualities within every person are given a physical body here, showing how we all are gender-fluid when it comes to expressing emotions and navigating through life.

With a cast made up entirely of dancers, most from Israel’s Batsheva Dance Company, the dance sequences seamlessly blend into the narrative that becomes part of the conversation between the characters, be it celebrating a wedding or just expressing their half drunkenness. Sexuality and dance in Aviva express desires, longing, jealousy, love, and every other feeling that a human body feels or goes through in life.

7:40 pm 天邊一朵雲 THE WAYWARD CLOUD

湘琪到處去撿空瓶子，偷公廁的水。拍 A 片的 小康，半夜爬上大廈陽台，尋找還有水的水塔 洗頭，生活雖然艱苦，可是寂寞更加難耐…… 每個人都是一朵雲，在無言的天空，獨自飄零， 彷彿永不相遇。

當一朵雲遇上另一朵，兩顆寂寞的心會變成 � 麼形狀……

11/9 [ 日 SUN ]

Amidst severe water shortage in Taiwan, Shiang-chyi is trying to survive the drought by hoarding plastic bottles and filling them with water from public toilets while Hsiao-kang, a porn actor, climbs to the rooftop in the middle of the night to bathe in the water tank. Survival is hard but loneliness is even harder to endure. Tsai Mingliang's characters are like clouds drifting aimlessly through life, in a world without water.

The two lost souls cross paths like wandering clouds.

The most audacious film to date from visionary director Tsai Mingliang, The Wayward Cloud is a sequel to What Time is it There? and The Skywalk Is Gone . The two characters, Hsiao-kang and Shiang-chyi reappear to conclude the trilogy, exploring eroticism, voyeurism and urban alienation. The bodies are constructed in different scenes confined within a confounding series of architectural structures of walkways, driveways, staircases, under the table and rooms to present the claustrophobic sense of space in the urban dwelling. The mechanical and awkward sex scenes left Hsiao-kang in bleak despair and desires unfulfilled. A wordless, contemplative film. Dialogue is reduced to a near ubiquitous silence. The film presented poignant gestures of the decline of human communication and male-female love relations in urban society. Watermelon becomes a perverse sexual imagery throughout the film. Intercut of extravagant, surreal musical numbers adapted from vintage Taiwanese pop songs established a humorous imaginative dimension and became a mean for the characters to express their innermost feelings. The film’s ending may be read as what happens when two clouds eventually collide. Be prepared for the jaw-dropping final scene, both provokingly erotic and profoundly disturbing.

法國及台灣 France & Taiwan

2005

112 分鐘 mins / 35mm

�� Mandarin

���� English subtitles

導演 Director

蔡明亮

Tsai Ming-liang

2005 年「第 42 屆台灣金馬獎」

最佳劇情片提名、最佳導演提名、最佳女主角提名 Best Feature Film Nomination, Best Director Nomination, Best Leading Actress Nomination, ‘42th Golden Horse Awards’ 2005 (Taiwan)

2005 年德國「柏林影展」

最佳藝術貢獻獎、國際影評人獎、影展創辦人獎 Silver Bear for Outstanding Artistic Achievement, The FIPRESCI, Alfred Bauer Award, ‘Berlin International Film Festival’ 2005 (Germany)

跳格影像舞拉松｜ ? 4+1 ?

Jumping Frames Marathon with Curator｜ ? 4+1 ? 4 1 4 1

1:40-9:40 pm 11/9 [ 日 SUN ]

百老匯電影中心 Broadway Cinematheque

八小時馬拉松觀影體驗，一天四場放映，共 五部精選電影，召集熱愛電影與舞蹈影迷， 齊齊挑戰觀影耐力！凡購買 9 月 11 日連續 放映之四場「跳格」門票，即可獲得「跳格 影像舞拉松 1/4 ？ 4 ＋ 1 ？通行證」。

通行証包括小食及飲品一份，以及參與策展 人葉奕蕾、特别嘉賓陳智廷和一眾電影愛好 者在四場放映之間交談討論，暢談「影痴」

心聲。

精選片單 :

《離別之前》( 導演：佐治•里昂 )

《斜里怪談》/《誰是鈴木竜》( 導演 : 吉開菜央 )

《狂舞戀人》( 導演 : 鮑茲 也金 )

《天邊一朵雲》 ( 導演 : 蔡明亮 )

Calling for all film and dance lovers for an 8-hour movie marathon! Watch 5 films in 4 screenings on the same day with festival director Elysa Wendi and film scholar Timmy Chen in this special cinematic experience. When purchasing 4 consecutive ‘Jumping Frames’ tickets showing on 11/9, you will receive the ‘Jumping Frames Marathon with Curator 1⁄4?4+1? Pass’.

Each Marathon Pass includes: 1 set of snack and drink, access to discussion sessions between screenings with Elysa, Timmy, and fellow film lovers.

Marathon Film List:

Before We Go (Director: Jorge LEÓN)

Shari / Ryu Suzuki (Director: Nao YOSHIGAI)

AVIVA (Director: Boaz YAKIN)

The Wayward Cloud (Director: TSAI Ming-liang)

報名及詳情 Registration & Details 名額有限，先到先得 Limited quota, first-come-first-served 陳智廷

Timmy Chin-ting CHEN

陳智廷，香港浸會大學電影學院研究助理教授、 香港粵語片研究會及香港電影評論學會會員。 台大外文系畢業，香港大學音樂學博士。現正 研究華語歌舞片、六十年代香港實驗電影與何 藩影像作品。

Timmy Chih-ting Chen is Research Assistant Professor at the Academy of Film, Hong Kong Baptist University. He is member of Cantonese Cinema Study Association and Hong Kong Film Critics Association. Gradated with a bachelor degree in English in National Taiwan University, he received his Ph.D from the University of Hong Kong in Music. His current research projects include “Wartime Shanghai and Postwar Hong Kong Song-and-Dance Films, 1931–1972”, 1960s Hong Kong experimental cinema and street photographer Ho Fan’s cinematic works.

Artist Focus 焦點 藝術家

焦點藝術家 Artist Focus

宋周爰

Song JooWon

2/9 7:00 pm

香港逸東酒店 1 樓 Kino

Kino, 1/F Eaton HK

韓國 Korea / 78 分鐘 mins

韓語 Korean ���� English subtitles

宋周爰於 2004 年創辦了藝術團體 11 DANCE PROJECT，與文學、音樂、舞蹈、舞台設 計和電影等不同領域的藝術家緊密合作。 她的作品重視身體與城市的互動，超越時 空，專注記錄生活的軌跡。她首部有關「風 情．刻」的紀錄系列於首爾都會圖書館作 現場演出，亦是其創作的轉捩點―通過 表演的特定取景和攝影方式從編舞轉型為 影像創作人，並從此持續在舞蹈影像的領域 發展。

Song Joowon established an artist collective called 11 DANCE PROJECT in 2004, collaborating with artists of various disciplines including poets, musicians, dancers, stage designers and filmmakers. Her work highlights interaction between the body and the urban surroundings, transcending time and space, and focusing on the act of recording life. Her first documentation on ‘Pung Jeong. Gak’ - Series: Seoul Metropolitan Library live performance had been the transit point for Song from a choreographer to filmmaker through a specific framing and camera direction of her own performance. Since then she has been working in the realm of dance film.

風情．刻 Pung Jeong. Gak

是次放映的 � 部精選短片，皆由宋導演執 導，全為「風情．刻」系列作品。此系列自

2013 年開始，選取城市中不同的環境進行 舞蹈演出、拍攝。「風情．刻」的「風」是 指將我們引領到某個地理坐標和時間的風； 「情」是隱藏在風裡的情感和靈魂；「刻」

則是個標誌，刻劃著那從城市角落吹來的 風，讓人與人之間緊扣並深深影響著他們。 該系列探索城市生活中被遺忘的文化氣息， 展示城市風景，揭露其中的故事。在城市 小巷中收集破碎消逝的記憶、失落的時間， 嘗試連結人生的價值，深入生命的本質， 在支離破碎的現代生活中讓人獲得內心的 平安。

首爾都會圖書館

Seoul Metropolitan Library

從世運廣場到樂園大廈

From Sewoon Plaza to Nakwon BLDG

青 坡小丘

A Town with a Blue Hill 我是一頭獅子

I Am A Lion 真正的小鎮

Real Town

The 5 films selected, directed by Song, are all from her ‘Pung Jeong. Gak’ series, a site-specific dance film project in urban space, since 2013. Literally, Pung means the wind that directs us to a certain geographic coordinates and time; Jeong means the emotion and soul that hide within the wind; and Gakmeans the mark of those winds leaving from the city corner to connect people and influence them. The film series explores the forgotten culture of the urban life, focusing on the space of the cityscape where stories unfold. Collecting fragments of disappearing memories and lost time engraved in urban alleyways, the film tries to connect the value of human, getting closer to the essence of life, and attaining inner peace against the fragmented modern life.

⾹� 首映 HONG KONG PREMIERE

⾹� 首映 HONG KONG PREMIERE

⾹� 首映 HONG KONG PREMIERE

⾹� 首映 HONG KONG PREMIERE

焦點藝術家 Artist Focus

丹妮爾． 威爾茅斯 Danièle Wilmouth

2/9 [ 五 FRI ] 9:00 pm

香港逸東酒店 1 樓 Kino

Kino, 1/F Eaton HK

美國 USA / 84 分鐘 mins

�� English

中��� Chinese & English subtitles

影片含有裸露場面。 The film contains nudity scenes.

⾹� 首映 HONG KONG PREMIERE

丹妮爾 · 威爾茅斯的創作善於糅合電影、錄 像、裝置及現場表演，並深入探索儀式、圖 案、單一與無常。她往往為日常生活中自然 發生的無意識編排感到著迷，亦著眼於如何 以電影捕捉平凡生活中的奇妙不凡。她獲 獎無數，其作品經常探討如何牽引舞動的身 體⸺構建為拍攝而設計的演出，及拍攝回 應社會問題的實驗性紀錄片。威爾茅斯與舞 蹈結緣於 1990 年在日本大阪開始為期六年 的駐留，她參與舞踏創作和演出，並聯合創 立了跨國獨立電影製作團隊 Hairless Films。

Danièle Wilmouth creates hybrid forms of film, video, installation, and live art that explore ritual, pattern, monotony, and impermanence. She is fascinated by the unconscious choreography of ordinary life and how cinema reveals the miraculous spectacle of the everyday. Her award winning films investigate mediation of the choreographed body—constructing performances exclusively for the camera, as well as experimental approaches to social issue documentary. Daniele’s relationship with dance started when she began a six-year residency in Osaka, Japan in 1990, where she performed Butoh dance, and co-founded Hairless Films, a multi-national independent filmmaking collective.

「威爾茅斯的作品不是描述舞蹈的電影，而是會跳舞的電影。」

——比爾．布朗，電影工作者

“Wilmouth’s works are not dance on film, but films that dance.”

——Bill Brown, Filmmaker

凝視 Curtain of Eyes

《凝視》是一部將日本舞踏、心理意象和 舞蹈錄像結合的實驗影片。威爾茅斯耗了 六個月時間，與日本舞踏大師桂勘及其街 頭藝人舞團合作，為舞者和鏡頭視覺創作 肢體動作，發展出對親密關係的追尋和二 元文化身份的探索。本電影的配樂由英國 音樂家阿德里安 · 弗里德曼原創。

追踪脈絡 Tracing a Vein

表演者和鏡頭間的現代舞儀式，《追踪脈 絡》描繪了一個人在生命週期中的整個旅 程。本片結合動作與定鏡攝影，編舞則深 受日本舞踏影響。借鑒一系列神話和民間 傳說，《追踪脈絡》試圖重新利用古代表演 的精神力量，重構表演者作為牧師、戰士 和治癒者的角色。

Curtain of Eyes is an experimental film which combines Japanese Butoh dance with psychological imagery and choreographed cinematography. Over a six-month period, Wilmouth collaborated with Butoh dancer Katsura Kan, and his dance company The Saltimbanques, to create movements for both dancers and camera. The result is an exploration of intimate relationships and bi-cultural identity. British musician Adrian Freedman composed the original score for the film.

A contemporary ceremonial dance between performers and camera, Tracing a Vein charts the journey of an individual through the cycle of life. The film combines live action and stop motion camera work, with choreography influenced by Japanese Butoh dance. Drawing on a range of mythology and folklore, Tracing a Vein attempts to re-appropriate the spiritual power of ancient performance; to rediscover the performer as a priest, warrior and healer.

關於愛與盡力的異教徒入門手冊 A Heretic’s Primer on Love & Exertion

偷取雜耍、舞蹈和表演藝術的傳統概念，

崔弗 · 馬田和金 · 奧森從說獨白到跳舞、從穿 褲子到著裙子、從女到男，收集了 29 件相 關事件。《關於愛與盡力的異教徒入門手

冊》揭示了身份的二元性⸺探索性別的 建構、慾望的操縱以及人的身體對各種政 治、醫學和宗教議題的殖民化。

容器 Containers

芝加哥表演藝術家約瑟 拉文斯吟誦關於人體、 追求青春與長生不老的暗黑詩篇。令人毛骨悚 然的隱喻詭異地與色彩斑斕的物品並置，從神 奇丹藥、異國複方到魔藥神水琳琅滿目。改編 自舞台演出，電影的獨白對於我們為延長生命 寄予厚望的靈丹妙藥徒勞無功作無情嘲弄。

Pilfering from the traditions of vaudeville, dance and performance art, Trevor Martin and Kym Olsen slip from monologue to dance, trousers to dresses, female to male, in a collection of 29 related incidents.  A Heretic's Primer on Love & Exertion reveals the duality of identity - probing the construction of gender, the manipulation of desire, and the colonisation of the human body for various political, medical and religious agendas.

Chicago-based performance artist Joseph Ravens delivers morbid poetry about human anatomy and our search for youth and immortality. His macabre metaphors are oddly juxtaposed with colorful festive objects made from magical pills, exotic remedies and bottled potions. Adapted from the stage performance, May Contain... the film includes a sound collage which mocks our futile attempts to prolong life, and the magnificent elixirs we put our hopes into.

圓 ROUND

《圓》是一個關於模擬和數碼神話創造的研 究項目。邀請了科學家、民俗學家和神學家 進行諮詢，鑽研如何在純白色數碼世界之中 進行複製；彷如一個虛擬養殖場；洶湧的洪 水和身份不明脫離軀體的手；身體在源源不 絕的溪流中滾動追逐自己的影子。人類族群 在客體與主體脆弱的分界線之間飛馳，向我 們生產的物事好壞提出疑問。

ROUND  is a research project on analogue and digital myths of creation. In consultation with scientists, folklorists and theologians, we study the sterile white digital world of replication; a virtual breeding farm. Turbulent floods and disembodied hands sculpt figures with uncertain identities. Bodies roll chasing their own shadows in an infinite stream. A human race speeding along the fragile demarcation between object and subject, questioning the danger, or benefit, of becoming a thing amongst the things we produce.

步操樂隊的開場小號

FANFARE for MARCHING BAND

奪目的色彩、歡快的音樂和狂喜的舞蹈卻 無法吸引一旁毫不觸動的公眾。《步操樂 隊的開場小號》緊隨一隊雜牌軍制服音樂 團隊的滑稽巡遊，他們的小隊深入群眾， 卻彷似穿越了平行時空，縱使音樂氣勢磅 礡，旁人對其參差不齊的音樂置若罔聞。

這部音樂舞蹈電影反映了經濟不景的今天， 由彼得 · 卡本特編舞，馬戲團龐克步操樂隊 穆卡．帕扎創作音樂，在芝加哥市內各處 最不適合演出的地點快樂地表演音樂。

Saturated colours, euphoric music, and ecstatic dance choreography fail to engage an immobilised public. Fanfare for Marching Band follows the antics of a ragtag musical militia, as they embark on an inept invasion through a parallel universe where their exuberant music is out of sync and unheard. Reflecting on today's lean economic times, this music and dance film features choreography by Peter Carpenter, and music by the circus punk marching band Mucca Pazza, who stage musical actions for joy at various inappropriate locations around the city of Chicago.

焦點藝術家 Artist Focus 卓翔 Cheuk Cheung

9:30 pm

#3

生於香港、屢獲殊榮的電影導演卓翔，同時 以劇場導演、影像設計及策劃人身分，活躍 於跨文化藝術創作及交流，與亞洲不同背景 的表演藝術家合作。他持續通過電影及劇場 作品去記錄表演藝術家台上台下的人生抉 擇，啟發觀眾為生命帶來改變。這兩部紀錄 片描繪不同地域從事表演藝術的表演者，在 面臨命運抉擇之際，前路茫茫、難以取捨， 呼應其作品的命題及對身體與表演性創作 的濃厚興趣。

An award-winning film director born in Hong Kong, who initiated various theatre productions and cross-cultural exchange programs, participated as theatre director, video designer and curator. Those programs involving diverse background performing artists in Asia. Cheuk’s documentaries and theatre pieces identified scenario of performing artists with compelling significance which he believes real life stories could influence others and empower changes. The selected two films depict performers in the realm of performing arts when choices determine their destiny, uncertainty and ambiguity. This is a recurrent theme in his works and his special affinity with body and performance making continues.

一個武生 My Next Step

鏡頭下，武生楊陽的功架身段風姿綽約具 十足的舞蹈性。專攻武生行當，日積月累

的武打訓練成了他在崑曲體制下的身體定 義。然而在這崑曲的盛世當中，只有才子 佳人的文戲備受追捧，武生的演出機會卻 少之又少，這位僅餘的年輕武生如何面對 個人生涯與藝術傳承的兩難？又如何從傳 統的崑曲演員，走到當代劇場導演榮念曾 的舞台，再嘗試自主創作自導自演實驗崑 曲？開創新路，離經叛道，前路茫茫，獨 行上路。

�界 首映 WORLD PREMIERE

2015 / 66 分鐘 mins

�� Mandarin

中��� Chinese & English subtitles

Kunqu, one of the oldest existing forms of performing art in China, has once again risen to attention after being recognised as an Intangible Cultural Heritage by UNESCO in 2001. My Next Step follows the story of a Kunqu performer, Yang Yang, skilled in acrobatics and martial arts. With years of martial arts training, his body is defined by the role of wusheng (martial hero). The camera depicted Yang’s martial art movement in dancelike elegance. However, the wusheng role is marginalized as Kunqu scripts focused on romance, his opportunities are few and dwindling. As the last young wusheng in the troupe, Yang faces with deep ambivalence to commit his life preserving this fading art form. How does he ends up working with avant-garde Hong Kong director Danny Yung and struggle to develop an experimental Kunqu production of his own that challenges traditional conceptions of the art form? Despite ambiguity of the future, he insists taking bold steps ahead.

靜行 Stillness in the Wave

透過聆聽香港舞蹈團團員的自述，凝視他 們在排練室與劇場的日常，試圖重構他們 如何通過持續的武術訓練，與舞團一同經 歷藝術方向與訓練方式的革新。影片同時 紀錄了他們在過程中的不安、思索與發現， 他們閉著眼睛，在一條未知的道路上慢慢 前行。

2022 / 28 分鐘 mins

�東���� Cantonese & Mandarin

中��� Chinese & English subtitles

This documentary charts the progress of Hong Kong Dance Company as it embarks on a journey of exploration. Through their encounters with different physical disciplines and philosophies, meditation, and Chinese martial arts, the artistic team absorbs new energies and sensibilities. They candidly reveal their fears, self-doubts, and findings in their quest to refine their dance forms and express their cultural roots. It’s an uncertain journey towards the cultivation of inner peace and the essence of movement and stillness.

焦點藝術家 Artist Focus 吉開菜央 Nao Yoshigai #4

11/9 3:45 pm

吉開菜央修畢舞蹈的學位課程後，於東京藝 術大學攻讀電影碩士學位。她的影像作品猶 如在「舞動」―她將影像、聲音和文本以流 動影像的方式編成舞蹈，並根據生物獨有的 物理特質和現象，將電影拍成一種「體驗」。 其影像熱衷於研究拍攝對象所具備的人類 本質，並發掘值得記錄的奇異元素。她說： 「這就是我欲創作的舞蹈。」

Nao Yoshigai studied dance for her first degree before went on to take her master in film in Tokyo University of Arts. Her film is “dancing”. She choreographs images, sound and text as a motion picture for a time to focus on “experience”, based on physical sense and phenomena which are unique to living things. Her films often delve deeply into human nature of her subject and profoundly observe bizarre elements in a place or a person that needs a documentary. She said “This is the kind of dance I want to do.”

誰是鈴木 竜 Ryu Suzuki

吉開受委託為印度一個藝術駐留計劃拍攝 舞蹈藝術家鈴木竜，並被要求仿照她另一 作品的風格，拍攝鈴木的身體特寫，將其 描繪成某種風景。但她更希望讓印度舞者 通過視頻，看到鈴木的不同面向，方便舞 者與素未謀面的鈴木遙距共舞。多次接觸 後，吉開發現鈴木家中相處多年的布偶。 鈴木認為他們是維持了長久關係、深受信 賴的同伴。觀乎人體通過新陳代謝每六個 月更新一次，但布偶的填充物永恆不變， 仿佛見證了他的自我意識能保持不變。本 片最後變成了一部關於鈴木的紀錄片，以 吉開的視角敘述。

斜里怪談 Shari

在這平凡的鄉村，吉開化身一頭神秘的火 紅色生物。「紅物」穿著毛茸茸的紅毛衣， 仿如行走的稻草人。在體育館裡，一群孩 童遇上了「紅物」，拼發一場場滿臉血紅的 相撲大賽。他們更一起重現日本原住民族 阿伊努人及 Oronko 岩(阿伊努語意思為「坐 在那裡的岩石」)的傳說故事。

在創作舞蹈或電影時，吉開總是著眼於如 何能跨越界限，成為非人類的東西。從這 個意義上說，《斜里怪談》中看到的一切也 可視為舞蹈。「紅物」的象徵意象令吉開細 膩的觀察式紀錄片成為了詩一般而又稍稍 令人不安的童話故事。揉合民間傳說、美 術工藝、口述歷史、生態觀察和傳統神話， 本片拼湊成一首優雅的視覺之詩。

Yoshigai was asked to film Ryu Suzuki’s identity as a dance artist for an Indian residency project. She was requested to do close-ups of Suzuki’s body, similar to that she filmed in Hottamaru and portray his body into some kind of landscape. But she was keen to communicate through her video, so that the dancer in India could see another aspect of Suzuki, to dance with him, even though he was not there physically. After some encounter, Yoshigai discovered Suzuki’s stuffed animal characters, which he sees as entities that he trusted due to the bond of consciousness that had built up over a long period of time. The human body renews itself (through metabolism) every six months, but the stuffed animals are different, so he thinks that his own consciousness remains unchanged. In the end, it became a documentary about Suzuki with Yoshigai introducing him through her narration.

2022 鹿特丹國際電影節 - 傳媒及業界之選參展作品 ( 荷蘭 ) 2022 International Film Festival Rotterdam, Netherlands (IFFR, P&I Selection 2022)

In these rural surroundings, Yoshigai presented herself as a mysterious, fiery-red creature in red shaggy costumes, “The Red Thing”, like a walking scarecrow. In a gym, schoolchildren met the red creature. With the pulsating energy of a throbbing blood clot, they fight with all their might, Sumo-style. Together they recreate stories of the Ainu, the First Nations peoples of Japan, including the story of Oronko Rock which is named for the people of the area.

When creating dance or films, Yoshigai always looks into how close she can come to being something nonhuman and to cross that boundary. In that sense, everything you see in Shari can be seen as dance. The symbolic appearance of “The Red Thing” turns Yoshigai’s delicate, documentary observations into an idyllic, yet disquieting fairytale. Folklore, arts and crafts, oral history, ecology, and mythology blend elegantly in this visual poem.

Body Archive 身體

檔 案

身體 檔 案：港台的 歷 程和想 像

Body Archive: Trajectory Re-imagined for Hong Kong and Taiwan

傷停補時 Extra Time

策展人：黃柏喬 (台灣南方影展藝術總監)

100 分鐘 mins

Curated by Joe HUANG (Director for South Taiwan Film Festival)

3/9 [ 六 SAT ]

6:00 pm

香港逸東酒店 1 樓 Kino

Kino, 1/F Eaton HK

影片含有裸露場面及性題材。 The film contains nudity and sexual material.

策展人的話 Curator � s Note

I以足球賽特有規則，「傷停補時」( extra time )作 為策展發想，精選 90 年代至今，一眾台灣紀錄 片工作者與錄像藝術家的影像創作。探討台灣當 代錄像藝術中，以社會產生之現象為研究母題， 透過對事件的虛構、搬演、挪移與再造的影音創 作形式；描繪歷史，並召喚台灣常民社會下的幽 微樣態。

黃柏喬

Joe HUANG

南方影展藝術總監、獨立策展人。 2022 年 在 TIDF 台灣國際紀錄片影展擔任初審評審。

Joe Huang, part-time teacher for film aesthetics, sees himself a freelancer for film art, but somehow works like a blue-collar. Serves as South Taiwan Film Festival curator and several occupations (including jury) for 8 years after studying in Sound & Image Studies in management of TNNUA. Joe was invited as a preliminary Jury for Taiwan International Documentary Film Festival 2022.

This special screening programme is inspired by the concept of ‘extra time’, or the injury time in soccer, where a specific amount of time is added to the end of soccer halves as a result of injury-related events. Drawn from the works of Taiwanese documentary filmmakers and video artists from the 90s onward that explore how social phenomena are represented in contemporary Taiwanese video art, this programme bridges fictional and actual events, displacing, replacing, and re- constructing the moving image; sketching an outline of history and drawing into view the micro-histories of the ordinary Taiwanese people.

後工業藝術祭 1995 1995 PostIndustrial Arts Festival

90 年代初戒嚴令解除後，衝撞體制的能量於 1995 年爆發，吳中煒、林其蔚合作策畫的「破 爛生活節」擴大為成為期三天的大規模戶外演 出⸺「台北國際後工業藝術祭」，邀請台灣 以及英國、美國、日本、瑞士等地的團體演出。 場地設在板橋廢酒廠(現已拆除)。上演視覺與 身體表演的前衛及極端程度，可能創下台灣現 場表演的紀錄。

導演 Director

黃明川

HUANG Ming-chuan

2014 年台灣嘉義國際藝術紀錄片影展參展電影 Chiayi City International Art Documentary Film Festival, Official Selection, 2014

The energy accumulated in the early 90s, after the lift of martial law came to an outbreak in 1995. As a result, ‘Shabby Life Festival’ expanded into ‘Taipei International Post-Industrial Arts Festival’. Lin Chi-Wei, a contemporary sound artist, serves as curator, orchestrating performances from Britain, America, Japan, Switzerland and local Taiwan. This event operated in Banchiao distillery for several days. The x-rated visual and horror shows may hit a record high in live action in Taiwan.

超級禁忌 Super Taboo

2016 / 19 分鐘 mins

�� Mandarin

中��� Chinese & English subtitles

導演 Director

蘇匯宇

SU Hui-Yu

演出 Performance

金 士傑

CHIN Shih-chieh

2018 年英國新銳電影媒體影展參展電影

Berwick Film and Media Arts Festival, Official Selection, 2018 (UK)

2018 年羅馬尼亞布加勒斯特國際實驗影展國際競賽項目

International Competition Nomination, Bucharest International Experimental Film Festival, 2018

2017 年荷蘭鹿特丹國際影展―極度超載單元

Maximum Overdrive Program, International Film Festival of Rotterdam (IFFR), 2017

《超級禁忌》的敘事源自一本早年俗稱「小本」 的黃色刊物，內容有來自歐美、日本的盜版色 情圖片，露骨的性愛描寫卻是如今讀來頗有韻 味的白話文學體。由金士傑飾演的都會白領階 級男性，在荒郊野外喃喃唸著書中情節，帶領 我們逐步進入超現實的情慾場景。

Adapted from historical texts, the narrative in the two-channel video artwork Super Taboo came from a pornographic publication, which was previously known as ‘a small book’, with the same title. In addition to illegal copies of pornographic photos from Japan and Western countries, the undisguised description of erotic scenes is now a mesmerising vernacular Chinese literature.

開發中肖像

The Irreversibility of Time

2014 / 20 分鐘 mins

����� Mandarin & French

中��� Chinese & English subtitles

導演 Director

陳運奇

CHEN Yun-qi

2016 年第七屆台灣國際實驗媒體藝術展

Experimental Media Art Festival in Taiwan, 2016

2014 年南方影展競賽入圍

South Award Nomination, South Taiwan Film Festival, 2014

我們無須統計即可知曉那些你我曾經拍攝的照 片，究竟會被拿出來瀏覽多少次；從最私密到 最普及，影像越來越氾濫的當代，無論是放著 不管、或大肆宣揚，我們究竟解放了觀看的什 麼？影像勾勒的視域版圖，是在協助我們認 識、對應現實，還是將現實限縮、以規劃其真 實標準？

How many times do we display the old pictures being taken? It is too difficult to answer the question, since there will be more and more images in the contemporary world, whether they are private or public. In spite of ignoring or celebrating ones, we should ask ourselves what we have liberated from viewing after all. Is the vision that images conjure up a medium of knowing the reality or a standard of measuring it?

身體 檔 案：港台的 歷 程和想 像

Body Archive: Trajectory Re-imagined for Hong Kong and Taiwan

身體漫遊 BODY of

the Flâneur

93 分鐘 mins

策展人：蔡倩怡 (獨立研究者與策展人)

Curated by Emilie CHOI Sin-yi (Independent Researcher and Curator)

3/9 [ 六 SAT ]

8:00 pm

香港逸東酒店 1 樓 Kino

Kino, 1/F Eaton HK

策展人的話 Curator � s Note

蔡倩怡

Emilie CHOI Sin-yi

曾任文化版記者，並曾策劃香港紀錄片專題 回顧展及其他影像項目。現為城市大學創 意媒體學院博士研究生，錄影太奇董事及 Floating Projects Collectives 成員。研究興趣 為亞洲獨立影像與媒體考古學。

Emilie Choi Sin-yi is a Hong Kong based researcher, writer and curator. Emilie started her career as a cultural journalist, she has also curated v arious kinds of art and film programmes which celebrates research-based curation and offers a cross-border and insightful approaches, such as Hong Kon g Retrospective Documentary Film Festival: From 80s to 1997 and Docuthon . She is currently pursuing PhD degree in School of Creative Media, City University of Hong Kong. She is also the board member of Videotage, and member of the Floating Projects Collective. Emilie’s research interests include Asian independent moving image and media archaeology.

II當漫遊聲色喧鬧的城市中，我們可曾覺察身體與 城市的綿密關係？此專題以班雅明的城市漫遊者 ( Flâneur/Flâneuse )概念出發，以身體於城市空 間中的漫遊作座標，選映 90 年代以降香港不同 類型的影像媒介作品，啟發對身體與移動的嶄新 想像。漫遊於現代城市中誕生，乃城市研究中不 可或缺的概念，並著重漫遊者的視角。若我們回 溯自身，搜集穿梭於城市密林的身體經驗，以身 體移動的曲折路徑作研究主題，且能探詢身體作 為檔案的可能，藉以勾勒香港城市的異質景觀與 變化，並展現身體如何被城市形塑，也同樣於城 市規律中反抗。

Do we ever notice the intricate relationship between our bodies and the urban environment when we traipse around the city? Departing from the concept of the “Flâneur/ Flâneuse” by Walter Benjamin, this special programme explores how the body can be situated as a major index of the cityscape. By tracing how the city of Hong Kong has been mediated by various forms of moving image since the 1990s, the curatorial idea triggers further imagination of the body and the city.

The “Flâneur” emerges from the modern city as its voyeur, for whom the recollection of one's layered experiences wandering through the city allows one to adopt the approach of body movement as a research subject. When we examine the possibility of “body as archive”, it explicates the heterogeneous spectacle of a changing Hong Kong. Through this reflection, one hopes to reconfigure our rebelling bodies in the city.

大動作 #1/10

Movement #1/10

錄像藝術家鮑靄倫與舞者黃大徽共同合作，以 實驗媒介探索空間與動態的關係，並穿梭於 90 年代的香港，記錄身體與城市的迷亂不定。

This video is a collaboration between Pau and the choreographer and dancer, Dick Wong. This is the first of a 10-parts exploration of movement and space, orientation and disorientation.

迴光（軀體悼念） Aftermath (in the memory of his body)

2004 / 14 分鐘 mins

��白 No dialogue

導演 Directors

陳序慶

Nose CHAN

劉柏基

Chris LAU

概念 / 編舞 / 演出 Concept / Choreographer / Performance

楊春江

Daniel YEUNG

音樂 Music

Carlyshemoss

楊嘉輝

Samson YOUNG

2004 年香港跳格國際舞蹈影像節委約作品

Jumping Frames Commissioned Work, 2004 (Hong Kong)

《迴光 ( 軀體悼念 ) 》探索身體於死前最後一刻 的官能記憶意象。編舞與錄像藝術家嘗試以不 同的視點展示一個介乎生與死的軀體，彷如暴 露於人前最後瞻仰遺容的遺體⸺死者的軀體 同時被視作客體及主體，時間與空間的抽象化 使我們對死者的懷念與對於死者生前的回憶並 行。軀體面對著不斷孵化的進程，血液由體內 流向體外的另一個宇宙體系，串連起內與外的 空間；生命，似乎仍被延續著，腐化並不是消 失，正如中國諺語所謂「先死而後生」，它仍 然是生命必經進程和另一種蛻變。

謹以此錄像作品獻給我們已離世的摯愛，因為 他們仍然活在我們心中。

Aftermath (In the Memory of His Body) investigates how the choreographer’s and video artist’s approach the subject of the “memory of a dying body”. Taking the body as both the object and subject for examination, this piece abstracts the “time and space” of a dying body. The time travel of a spirit (or a soul) parallel to the “flash-back” happens in one’s mind right before his/her body dies, the decaying body is still a continuity of living, a part of life process: like the blood comes out from the body and enter into another cosmos. Here, we start to see the inner space and the outer space reflects each other. As the old Chinese expression says: “life happens after deaths.”

We dedicate this piece to the loved ones who died around us, but their memories will never fade.

哀溺文

Elegy

2014 / 24 分鐘 mins

�東� Cantonese ��� No subtitles

導演 Director

許雅舒

Rita HUI

編舞及演出 Choreography & Performance

陳冠而

CHAN Kwun-fee

莫穎詩 Vinci MOK

俞若玫

Cally YU

2014 年香港跳格國際舞蹈影像節委約作品

Jumping Frames Commissioned Work, 2014 (Hong Kong)

2014 年跳格影像節 北京舞蹈雙週參展作品

Jumping Frames Festival in Beijing, Official Selection, 2014

2015 年英國格拉斯哥國際舞蹈節參展作品

Dance International Glasgow UK, Official Selection, 2015

香港獨立電影導演許雅舒以唐朝文學大師柳宗 元的短篇《哀溺文》為靈感，困於密閉的隧道 拍攝，蘊含大量女性隱喻元素；俞若玫、陳冠 而、莫穎詩編創極端的舞踏揭示現代圍城故事： 坐因愁城衍生出來的痛苦與掙扎，最終能於光 明的彼岸開出自由花嗎？

The director of Dead Slowly and Keening Woman , Rita Hui creates surreal dance fable taking inspiration from the parable Lament to the Drowned by Tang dynasty literary giant Liu Zongyuan. Filmed in a closed tunnel with Cally Yu, Chan Kwun-fee and Vinci Mok, Elegy revolves around the performers’ pain and struggle expressed in Butoh while living in a state of siege.

戲門 Door Game

2005 / 26 分鐘 mins �東� Cantonese 中��� Chinese & English subtitles

導演 Director 黎肖嫻 Linda LAI

2005 年香港藝術中心 PLAY> 節目放映

‘PLAY>’ Hong Kong Arts Centre, Official Selection, 2005

2006 年第 13 屆女性影展(臺北)實驗片類

Experimental Film section, WOMEN MAKE WAVES Festival, Official Selection, 2006 (Taipei)

身體與城市空間的關係，能如何作為檔案被呈 現、挪用與重置？影像學者及藝術家黎肖嫻以 多部由播音皇帝李我的天空小說改編而成的 五六十年代粵語長片，重新審視其似是而非的 故事及性別規範，並串連人物的開門關門動 作，其身體形態折射了文藝片箇中的通式和濫 調。片中的重構過程不但淡化了原來影像說故 事功能，更強調敘事的表徵和遊戲性，引領觀 眾瞥見曾在昔日香港的身體移動軌跡。

How can the relationship between body and city be represented, appropriated and redistributed as an archive? Door Game is a narrative game playing with the found footage of several family ethics melodramas from Hong Kong Cantonese cinema of the 1950s and 1960s created by moving image scholar and artist Linda Lai. By re-assembling loose fragments into apparently coherent structures, the film has been reconfigured into a critique of the gender-biased, formulaic quality inherent to Cantonese melodramas evolves. Towards the end, text and noise take over images, and critique overrides narration.

訊號 8

Signal 8

2019 / 14 分鐘 mins

��白 No dialogue

導演 Director 廖沛毅

Simon LIU

2019 年美國紐約電影節世界首映

New York Film Festival: Projections, 2019 (World Premiere)

2020 年荷蘭鹿特丹影展國際首映

International Film Festival Rotterdam, 2020 (International Premiere)

他們說暴風雨正要來臨，但我們仍然等待。當 城市的痕跡幻化成記憶的場域，香港的生活持 續如常。跳脫流動的影像結構故作自然，卻偶 爾失常，讓日常景觀被轉化作警告標語。斷續、 搖晃、風雨飄搖，光急切地告訴我們一些事情， 卻複雜隱晦、難以名狀，我們唯有耐心地等待 另一天。

They said a storm is calling this way but we’re still waiting. Lives carry on in Hong Kong as traces of civic upkeep morph into sites of remembrance. Decorative structures mimic nature then occasionally malfunction - transforming common spectacle to warning signs. The light urges to tell us something but can't quite get its point across, patience tested for another day.

眾神與朝聖者

Gods and Pilgrims

在過去，人們崇拜全能的神。人類發展科技， 破解身體，「賽博格」是一種權力和「全能」 的趨勢。在科技感十足的時代，人工智能有自 己的神嗎？ 人類真正崇拜的東西是什麼？

In old days people worshipped the almighty Gods. Humans develop technology and hack the body, the "cyborgization" is a tendency for power and "almighty". In a technology-textured era, do the AIs have their own gods? What are the things that humans really worship?

競賽入圍作品 Competition Selection

4/9 [ 日 SUN ]

香港逸東酒店 1 樓 Kino

Kino, 1/F Eaton HK

「跳格」向全球公開徵集具當代視野、獨立原創 的前衛作品， 由探索身體、從城市走到解構當代 經典、再以詩以畫入舞， 影像創作人與舞者交織 出一幕幕光影流動的都市紀錄。 24 套入圍作品將 於「跳格⸺香港國際舞蹈影像節」 2022 放映， 當中被評審選為優秀作品可獲得豐厚獎金。包括 由觀眾現場投票之「跳格觀眾之選」在內的得獎 名單，將於影像節期間公佈。

An ardent advocate for new voices and new forms of experimentation, Jumping Frame’s international open call seeks original and cutting-edge works to be screened during the festival, with cash prizes for outstanding works. The current selections present the spectrums and intersections between performance making and moving images, cine-choreographic interventions and the body. The competition result will be announced during the festival, including the ‘Jumping Frames Audience Award’ which will be voted by audience on the day.

決選評審 Final Juries

蘇筱琪 Silke SCHMICKL

黃大徽 Dick WONG

柴子文 Samuel CHAI

黎蘊賢 Orlean LAI

鮑藹倫 Ellen PAU

參賽作品（一） Competition Programme 1

Open Section 公開組

拳 Fist

荷蘭 Netherlands 2021 / 13 分鐘 mins

生氣的小帕想毀滅一切。治療師試圖通過舞 蹈轉移他破壞的力量。他能找到出口嗎？

Patrick is angry and he wants to break everything. A therapist tries to divert his brutal energy through dance. Can he find a way out?

Two Solos, One Dance, Three Frames

李偉能

香港 Hong Kong 2021 / 16 分鐘 mins

與兩位本地出類拔萃的拉丁舞者吳森雋和 林惠怡一同解構對拉丁舞的印象，轉化成舞 蹈影像。

Collaborating with two prestigious Hong Kongbased Latin dancers, Sam Ng and Michelle Lam, the project tried to deconstruct and tanslate the impression of Latin dance into video.

POV

黃曦嬅 WONG Hei-wa

香港 Hong Kong 2021 / 21 分鐘 mins

POV ，第一人稱視角。以性行為中情慾動作 元素，既暴露又隱蔽展示二人關係，觀察 其中親密的化學作用，強調完事後的興味。

POV 邀請您以自己的觀點加入，好嗎？

POV , literally stands for Point of View. Taking the elements of erotic movements from sexual intercourse, the video displays duo relationship in an exposed-but-obscure condition where intimacy and chemistry are observed and aftertaste of love making is emphasized. POV is inviting your own points of view for getting into this duo, shall we?

香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK 100 分鐘 mins

三 THREE

日本 Japan

2022 / 17 分鐘 mins

三位舞者川村美紀子、川口隆夫和松岡大經 過深入研究，以現代方式重新演繹舞踏大師 土方巽、大野一雄及大野慶人三人的作品， 體現舞踏的精髓。

Three performers, Kawamura Mikiko, Kawaguchi Takao and Matsuoka Dai, studied three pieces of choreography by Butoh legends - Ohno Kazuo, Hijikata Tatsumi and Ohno Yoshito to replicate their works not by imitation but responded to the spirit of Butoh in contemporary ways.

束縛之軀 Bound by Body

Minkyou YOO

德國 Germany 2022 / 14 分鐘 mins

連體雙胞胎，兩個人，身體卻長在一起。他 們不認識對方，但通過窗戶上的倒影，讓他 們對彼此了解加深了。他們身體相連，思想 卻相距甚遠。然而，他們通過舞蹈成為一體。

Siamese twins, with two bodies connected as one. They do not recognize each other, but they get to know each other a little better through reflections on the window. Their bodies conjoined but their minds are far apart. However, they gradually become one through dance.

失落的記憶 Fallen Memories

劉景愉 LAO Keng-u

印尼 Indonesia

新加坡 Singapore 澳門 Macau 2021 / 10 分鐘 mins

醒來時男人穿越到另一個世界，遇上一台舊 衣車和一塊蠟染布，激起了他的慾望。當與 蠟染布接觸時，他努力掙脫無形的束縛，很 快以優雅的流動形態與之結合，融為一體， 終於獲得了自由。

Waking up to an alternate reality, a man encounters an aged sewing machine and a batik left on the pedestal that arouses his desires. As he interacts with the batik, he struggles to break free from an invisible restraint and soon merges with its structure with graceful fluidity, finally free.

鄉關何處 Where is My Home

曾婉遒

香港 Hong Kong 2022 / 10 分鐘 mins

「火把節」是白族重要的傳統節日。一名舞 者回到她的家鄉。跟著媽媽的童謠，舞動身 體，問這生何去何從﹖從白族女性的傳承到 女性身份的自省，在大自然之中逐漸找到答 案。

‘The Torch Festival’ is an important ceremony for the Bai people. A dancer returned to her hometown, following the nursery rhymes taught by her mother, she raised doubts about her destiny with her dancing body. In the process of finding her answer, she reflected on her inheritance as a Bai woman, her female identity and her animistic belief in nature.

參賽作品（二）

Competition Programme 2

Open Section 公開組

彼岸 Beyond the Veil

許嘉俊 Ka-chun HUI

靈感來自謝景蘭的抽象畫《跳舞的女人》， 在現實與畫中世界之間，探索死亡與重生。

Inspired by the abstract painting La Danseuse by Xie Lalan, the film sets between the real world and the imaginary world, investigating the concept of death and reincarnation.

美術館 La Galerie

Loup-William THÉBERGE 加拿大 Canada 2021 / 11 分鐘 mins

晚上的美術館，一個女人與一幅畫之間存在 意想不到的聯繫，引發一場真實與虛幻交纏 的神秘旅程。

An unforeseen connection between a woman and a painting triggers an unexpected journey between the real and the unreal.

重組： 波麗露再生 Structure: Making Bolero

Seoljin KIM, Iwa

改編自韓國國家當代舞蹈團著名劇目《波麗 露再生》試圖重塑傳統的《波麗露》，追尋 她的真面目。利用日常生活的聲音轉化成 《波麗露》的旋律，表現場面調度中的隱喻。

A new adaptation from Korea National Contemporary Dance Company’s signature repertoire, Making Bolero – an attempt to break down and deconstruct the conventional Bolero to recreate ‘a real Bolero’, using the sounds of everyday life and music in which ordinary noises expand into its rhythms, its metaphorical miseen-scène is manifested.

電車路 Tramways

AU Chi-hang Jeremy

香港 Hong Kong 2022 / 10 分鐘 mins

純視覺作品，聚焦從 1904 年營運至今香港

最具代表性的交通工具。舞者何靜茹化身電 車，從東到西蜿蜒在香港島上遊走。

The Tramways is a visual piece celebrating the most iconic transportation of Hong Kong since 1904. Personified by performer Frankie Ho, the tram meandering around Hong Kong Island from east to west.

我曾到過 那兒 Once I passed

華特 惠特曼是美國最重要的詩人之一。他的 詩《我曾到過那人口稠密的城市》，講述與 一段無名女子的情史。該詩出版 60 多年後， 他公開承認情人是男人。這首詩的重要性在 於其自傳意味，歲月靜好，兩個戀人的愛情 故事卻又刻骨銘心。

Walt Whitman is one of the most important poets in American literature. His poem Once I Pass’d Through a Populous City, tells of his liaison with an unknown woman. Some sixty years after the initial publication, he admitted that it was about an affair with a man. The poem is dedicated, on the one hand, to its autobiographical context, and on the other hand, to its content, the profoundly quiet, yet powerful story of two lovers.

清醒夢 Lucid Dream

你討厭的正是你自己，現實無法逃避；如夢 境，夢境中的現實。生活就像一場夢，一場 你無法醒來的夢。

The one you hate is exactly the self you hate, a state that cannot be escaped in reality, like a dream, a lucid dream in reality. Life is like a dream, a dream you can't wake up from.

(阮國非) (NguyEn QuOc Phi)

蘇育賢 SO Yo-hen 台灣 Taiwan 2022 / 6 分鐘 mins

2017 年 8 月 31 日，越南外勞阮國非被警察 連開九槍身亡，警方說辣椒水與警棍對他皆 無效。我們跟據警方的口述記錄拍攝了這部 作品，缺乏閉路電視影和阮國非的證詞，影 片就只剩下兩個警察對著空氣格鬥的畫面。

31th August 2017, Nguyen Quoc Phi, a Vietnamese undocumented runaway foreign worker, got nine shots by the police, who claimed he resisted arrest and he couldn’t be stopped by pepper spray or truncheon. Since there’s no CCTV footage nor testimony from Nguyen, the film was made according to the police report’s perspective and therefore only visualizing two police officers fighting with thin air.

地域 歸屬感 Geographies of Belonging

Eliza Demian

《地域歸屬感》是一項實驗性的視覺研究， 關注疫情期間移居對身體所帶來的焦慮和歸 屬感的影響。泰晤士河畔上演一場河流與身 體的對話。河流代表倫敦的自然活地標，而 表演者通過鏡像模仿代表移民的身份 。

Geographies of Belonging is an experimental visual study of the anxieties related to visibility and belonging, forming around migrant bodies during pandemic times. Performativity actions shot on the banks of the Thames staged a conversation between the river as a natural, living archive of London and the body performing its migrant status through mirroring and mimicry.

重構記憶 Reconstruction

兩位老同學聚舊，回憶他們的青澀時期。隨 著記憶開始覺醒， 1982 年在一家酒店舉行 的學校聚會，與她當時的記憶截然不同。

Two old school friends meet to reminisce about their youth. With their adolescent memories beginning to awaken, a letter she wrote back then brings up very different recollections of a school party in a hotel in 1982.

參賽作品（ 三 ）

Hong Kong Student Section 香港學生組

靜謐 The Tranquil

在煩囂和紛擾下、在光與暗的鬥爭中尋找著 自我，尋找著屬於自己的靜謐。

In this noisy and chaotic world, under the fight of brightness and darkness, we are looking for the tranquil place? Life? Or just ourself?

夢遊 Sleepwalk

Hao

Tong

Xinyue

一部以香港城市風光為背景的混合媒體動 畫，舞者楊浩穿梭城市之中。

A mixed-media animation based on urban scenery of Hong Kong and the dancer Yang Hao who navigates the city.

霍志鋒

FOK Chi-fung

香港 Hong Kong 2022 / 11 分鐘 mins

三個時間線，由風車引領，穿越不同時空， 從純白空間走到海灘與森林。

Three timelines, all led by a pinwheel, across a different time and space, traveling from white space to the beach and forest.

我的舞蹈 生涯？ 第二章 My life as a dancer? Chapter 2

徐奕婕

TSUI Yik-chit Ivy

香港 Hong Kong 2022 / 3 分鐘 mins

作為舞者，徐奕婕幾乎一生都在舞動。

除了舞蹈，生活還剩下甚麼 ?

生活是由甚麼組成的 ?

時間於生命來說是甚麼 ?

As a dancer, Ivy Tsui has been dancing almost all her life.

What is left without dancing?

What constitutes life?

What is time in life?

Mattress Attachment

LEUNG Lok-tin

香港 Hong Kong 2022 / 6 分鐘 mins

靈感來自我們與床的關聯，將日常體驗與舞 蹈連結在一起。

Inspired by our association with beds, we connect our everyday experience to the dance moves and gestures.

Feed Me to the Squares

從簡單的正方形到越來越複雜的移動模式， 有機物似乎迷失在人造物中，人造物開始主 宰世界的節奏和結構。

From a simple square to increasingly complex moving patterns, the organic matter seems to get lost in the artificial matter which begins to dominate rhythm and structure of the world.

無所定向 Drifting

是小風，也是濕婆。化身萬象，舞動宇宙， 不分你、我、他或她。

Law Siu-fung, a gender queer individual who lives outside of heteronormativity and gender binary. As a gender-fluid identified bodybuilder, Siufung was born female and identifies socially as male, he/she is like Shiva, a god of ambiguity and paradox, with one half of the body as male and the other half as female, who also creates the universe.

一炷香 Bon Appétit

一位死去的母親，回來為女兒做最後晚餐。

A dead mother coming back to make dinner for her daughter, one last time.

「當人們將身體與舞蹈聯繫起來，

才會真正明白什麼是痛苦折磨： 它是我們生命的一部分。

無論我們在外面怎樣尋找，

不鑽進自己的內在便無法找到。」

土方巽

�

When one considers the body in relation to dance, it is then that one truly realizes what suffering is: it is a part of our lives. No matter how much we search for it from the outside there is no way we can find it without delving into ourselves.�

Tatsumi Hijikata

Dis-ordered

裝置與擴延展覽 Installation and exhibition programME

「擴展的空間」乃「跳格」從電影院延伸 至展覽空間的單元，將身體與影像的關係 重新配置。本年度展覽名為《破裂重序》， 嘗試探索身體與機器、數碼系統等的破裂 失序，並如何通過錄像、裝置及表演藝術 來接連與聯繫。

在共同尋覓與省思的過程中，我們重構身 體的記憶與秩序，借此回應眼下分崩離析 的世界。展覽的作品或逾越身體與機器邊 界、或破除身體的固態想像，皆展示了身 體與政治、地方、主體及律動等相互依存 又各自獨立的關係，引向畸零的異流，由 我們各種微小的反應及參與，形塑獨一無 二的經驗。

The title of the ‘Jumping Frames’ Expanded Space 2022, Body-dis-ordered is a tangent coined out from the festival main theme this year: Body Non Body. The exhibition explores the dysfunction of both human body and the mechanical/ algorithmic system, and how they collide with each other in the language of video, installation and performance.

參展藝術家 Participating artists

羅銳 Ray LC ( 香港 Hong Kong )

Joey HOLDER ( 英國 UK )

全普璟 JUN Bokyung ( 韓國 Korea )

田惠註 JUN Hyejoo ( 韓國 Korea )

徐皓霖 TSUI Hou-lam ( 香港 Hong Kong )

董永康 TUNG Wing-hong ( 香港 Hong Kong )

Omsk Social Club ( �國 Germany )

共同策劃 Co-curation

葉奕蕾 Elysa WENDI

蔡倩怡 Emilie CHOI Sin-yi

香港逸東酒店 Eaton HK

In a collective contemplation to re-organise embodied memories and body order, the inherited system and independence between bodies, subjectivities, politics, place, and movement, what emerges through the works in this collection proposes a certain engagement to access possible unfamiliar flow in which our body’s own reaction and participation gives shape to the experience.

2022： 案例分享「如何談一場戀愛」

2-5 pm 2/9 [ 五 FRI

香港逸東酒店 4 樓 Terrible Baby Terrible Baby, 4/F Eaton HK

如何談一場戀愛 All About Love 創作者之間的關係

Between artist and collaborator

主持人 Moderated by Love Collective

藝術家之間的合作如談一場戀愛，來探 聽電影與舞蹈創作者之間不為人知的一 面。這兩個範疇的合作在疫情期間日漸 普遍，但如同所有關係，合作上的磨擦 與分歧乃無可避免。通過不同案例，我 們嘗試發掘藝術家與媒介之間的共同語 言，以及了解雙方業界的運作模式。並

試圖從錯誤中學習，尋求更美好的合作 關係。

#1

Collaboration in dance filmmaking and cross-disciplinary creation is like going through a love and hate relationship.

From attraction to uncertainty, from intimacy to partnership, the blissful honeymoon phase might end, and the reality of the relationship sets in, when making the final work. There might be romance, yet there might be set backs, how to make it work?

‘All About Love #1’ looks into the unheard dialogues, peeping into the collaboration between filmmaker and dance artist from the perspective of the other side. While both mediums are logistically put together to escalate marriage and functional presentation during the pandemic period, the disruption and mis-matched is inevitable in the process.

In this case study session, we look into the search of counterpoint in both frameworks and industry practices and methodologies between the mediums and the artists.

預先登記 Free admission

「跳格」業界論壇

JF Industry Forum 2022:： Case Studies - “All About Love”

2-5 pm 3/9 [ 六 SAT ]

香港逸東酒店 4 樓 Terrible Baby Terrible Baby, 4/F Eaton HK

如何談一場戀愛 All About Love 藝術家與製作人之間的關係 Between artist and producer

主持人 Moderated by Love Collective

「如何談一場戀愛 #2 」圍繞製作人與藝 術家、電影監製與委約機構的決策者之 間如何「談戀愛」和 「經營戀愛」的經 驗分享。我們將研究一些製作案例，不 論成功與否，當中也有掙扎和頓悟，值 得我們一起反思和討論。我們希望藉此 研究可行創作及製作方案，並構建資訊 交流網絡，有利於新項目的支援。來讓 我們集思廣益，開啟創意製作之旅！

#2

‘All About Love #2’ is a meeting to share love, between producers and artists, filmmakers and commissioners or similar situations.

The sharing looks into some producing cases, successful or not, with of course enough struggle and sometimes epiphany, that is worthy of reflection and discussion. The idea is to seek for a new workable system, and network with the community for funding solicitation into possible new projects. Let’s brainstorm together a creative solution to produce a dance film!

Love Collective 集合具共同感應的藝術家、 電影創作者、編舞者、監製與委約機構負責 人等，來分享與研習能實踐新創作的可行方 法與知識。參與者包括舞蹈藝術家李偉能、 導演卓翔、文藝復興基金會總監柴子文、 城市當代舞蹈團藝術總監伍宇烈、城市當代 舞蹈團行政總監劉秀群、獨立研究者蔡倩怡 與跳格策展人葉奕蕾。

* 李偉能承蒙不加鎖舞踊館批准參與

Love Collective gathers artists, filmmakers, choreographers, producers and commissioners with like-minded sentiment to share and study the possible knowledge and system for new creations. Current members include dance artist Joseph Lee, filmmaker Cheuk Cheung, Renaissance Foundation Director Samuel Chai, CCDC Artistic Director Yuri Ng, CCDC Executive Director Cathy Lau, independent researcher Emillie Choi Sin-yi and Jumping Frames Curator Elysa Wendi.

*Joseph Lee in appearance by kind permission of Unlock Dancing Plaza

《回》是「跳格」的嶄新嘗試，邀請兩 位藝術家以身體作媒介，穿梭於不同空 間作偶發性的介入，亦將舉行特定的現 場行為。身體的擺盪既植根影像，同時 長出獨立的姿態。「回」，既有復返之意； 同時可化身為圖像，映照兩個覆疊的屏 幕⸺如同影像與現場行為的回應與折 射。身體律動，千回百轉，既延展影像 的時空，也重返自身的能動性，讓身體 與影像產生有機的對話與連結，讓「跳 格」展現身體與影像的流動性，不局限 於單一的時空或媒介之中。

* 偶發性演出 Incidental performance

影展期間穿梭於不同空間、跨越劇場界 限的介入式現場演出將不定時出現 Performance intervention may appear during the festival anytime, anywhere, and in any form (1/9 - 2/10)

Counter of Occurrences is a new attempt of ‘Jumping Frames’. Living artwork created through actions, executed by 2 artists’ performance intervention. Their performances may happen anywhere, anytime time during the Festival. Their bodies are the vessels that draws audience closer to the screen or they could independently become the moving images themselves.  “Counter of occurrences” symbolised numerous time of returning and could also be transformed into an overlapping image on screen that encounter with live performances. By extending time and space, bodies and cinematic images, we make dialogues and connections, literally breaking the forth wall. Hence, ‘Jumping Frames’ could expand something beyond a film festival.

* 現場演出

Live performance

1/9 6:30pm

香港逸東酒店 4 樓藝廊

Tomorrow Maybe, 4/F Eaton HK

節目時間表 PROGRAMME SCHEDULE

門票 TICKETING

門票現已公開發售 Tickets NOW available

HK$ 95

HK$ 75

全日制學生、60 歲或以上長者、殘疾人士及看護人及綜合社會保障援助受惠人折扣優惠

For full-time students, senior citizens aged 60 or above, people with disabilities and the minder and Comprehensive Social Security Assistance recipients (CSSA)

八折優惠 20% Discount

香港百老匯電影中心會員 / MOViE MOViE 會員

Bcinephile Members / MOViE MOViE member

CCDC「舞蹈靈」及 CCDC「學生舞蹈靈」持卡人

Holders of CCDC Dance Inspirations Card & Student Dance Inspiration Card

九折優惠 10% Discount

香港國際電影節電影會會員

HKIFF CineClub Subscribers

購票途徑

Ticketing Channels

百老滙電影中心節目

Broadway Cinematheque Box Office

網上購票 Online CINEMA.COM.HK

香港逸東酒店 1 樓 Kino 節目 Kino, 1/F Eaton HK 網上購票 Online

節目及優惠詳情 Programme & Discounts Details

戲院票房 Cinema Box Office

九龍油麻地眾坊街 3 號駿發花園 Prosperous Garden, 3 Square Street, Yau Ma Tei, KLN

購票條款 Terms and Conditions

^ 凡享用 CCDC「舞蹈靈」、 CCDC「學生舞蹈靈」及香港國際電影節電影會會員、全日制學生、 60 歲以上長者折扣優惠，須於百老匯電影中心 票房購票時，出示有效之證明文件。不適用於透過百老匯電影中心網站或手機應用程式購票。

優惠不能同時使用。

所有門票均受百老匯院線、撲飛的銷售條款所約束，詳情請瀏覽： https://www.cinema.com.hk/tc/site/privacy 及 www.popticket.hk/tandc 持小童及長者票之觀眾在入場時必須出示年齡証明文件，持學生票之觀眾則必須出示有效的全日制學生証，敬請合作。院方有權拒絕沒有相關 証件之人仕入場，並不會作出退票或任何賠償。

如有任何爭議，主辦單位保留最終決定權。

Discount for CCDC Dance Inspirations Card, CCDC Student Dance Inspirations Card and HKIFF CineClub are valid for purchases of regular priced tickets at the box office of Broadway Cinematheque upon presentation of valid membership card. The discount-offers are not applicable to Purchase tickets via Broadway Cinematheque�s website or APP.

The listed discount offers cannot be used in conjunction with each other.

All tickets are subject to the Purchase Policy of Broadway Circuit & POPTICKET Limited. Please refer to the https://www.cinema.com.hk/tc/site/privacy or www.popticket.hk/tandc

Audience with children or senior ticket must produce proof of age, and those with student ticket must present valid full time student card to our staff at the entrance of auditorium; otherwise the organiser has the right to refuse admission of the audience without any compensation. Any disputes are subject to the final decision of the organiser.

������，�目��場��活動形式或�����。���留�「跳� 2022」�頁���平��佈。

In view of the latest situation of the pandemic, ‘Jumping Frames 2022’ may adjust the arrangement of its screenings and events. Please refer to the ‘Jumping Frames 2022’ website and social media platform for updated arrangements.

��目內�並不反�主�單�的�見�

Program content does not reflect the view of the presenter. �������

Film Classification and Refund

��目小冊�付��，�����未���、�刊�物品�理�事���。�來���目���為�三�者，未滿十��的���士可��百老���中�� ��或 CCDC �理��手�，�����佈。

At the time this program brochure goes to print, some films have not been submitted to the Office for Film, Newspaper, and Article Administration. In the event that a film/video is subsequently classified as Category III, refunds will be made to ticket holders under 18 years old at the box office of Broadway Cinematheque or by CCDC Office. Detail will be announced.

CCDC �留更���者�

/ 或修�已�布的�目內���利

CCDC reserves the rights to substitute artists and vary advertised programmes

團隊成員 OUR TEAM

影展策劃

策展人 / 影展總監

葉奕蕾

藝術顧問

伍宇烈 CCDC 藝術總監

客席策展人

蔡倩怡 陳敬元 香港逸東酒店文化總監 黃柏喬 南方影展藝術總監

製作

監製

劉秀群 CCDC 行政總監

影展統籌 謝嘉豪

影展統籌與節目顧問

司徒頌欣

宣傳統籌 ��瑩　林朗兒　王��

林��　謝施予 王倩彤

票務 梁晞藍

策展及聯絡助理 張瑋怡 平面設計 田�工�

主視覺插畫師 何��

宣傳片製作 朱小豐 李偉盛 幕後製作特輯 李偉盛

網頁設計 鄭雅茵 文字及翻譯 尹子欣

客席譔稿人

張喬勛 蔡倩怡 蔡紹勇

謝以萱 謝嘉豪 俞若玫

字幕翻譯

遠東翻譯社 ( 台灣 )

後期製作與影像數碼管理

喜鵲媒體 競賽

決選評審 蘇筱琪 黃大徽 柴子文

黎蘊賢 鮑藹倫

複選評審 伍宇烈 卓翔 張偉雄

初選評審 蔡倩怡

Curatorial

Curator / Festival Director

Elysa WENDI

Artistic Consultant

Yuri NG Artistic Director, CCDC

Guest Curators

Emilie CHOI Sin-yi

Joseph CHEN King-yuen Director of Culture, Eaton HK

Joe HUANG Director, South Taiwan Film Festival

Production

Festival Producer

Cathy LAU Executive Director, CCDC

Festival Coordinator

Tomas TSE Kar-ho

Festival Coordinator and Consultant

Samantha SZETO

Marketing Coordinators

Stephanie MAK Ronnie LAM Thalia WONG

Kathy LIN Noel TSE Elise WONG

Ticketing

Helen LEUNG

Curator Assistant and Liaison Officer

Kelly CHEUNG

Graphic Designer

Peter Bird Studio

Main Visual Illustrator

HO Sin-tung

Festival Trailer Editors

CHU Siu-fung LEE Wai-shing

Behind the Scene Director

LEE Wai-shing

Website Designer

Yan CHENG

Copy Editor and Translator

Maria WAN

Writing Contributors

Hitch CHANG Emilie CHOI Sin-yi Jeremy CHUA

Ruby HSIEH Tomas TSE Kar-ho Cally YU

Subtitle Services

Far East Translation Service (Taiwan)

Post Production Management

Pica Pica Media

Competition Selection

Final Juries

Silke SCHMICKL Dick WONG Samuel CHAI

Orlean LAI Ellen PAU

Semi-final Juries

Yuri NG CHEUK Cheung Bryan CHANG

Preliminary Selection

Emilie CHOI Sin-yi Samantha SZETO Tomas TSE Kar-ho

Acknowledgement

South Taiwan Film Festival Videotage U Art Lab

Ellen PAU Clementine CHAN Seungah LEE