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Year of OX Feb 20-28 ~~~~~~~~~~~~~~~ Learn more about the art of tea drinking ~~~~~~~~~~~~~~~ Learn more about the art of Chinese Flower Arrangement |
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Love and Duty 戀愛與義務, 1931, 153 minutes
director: Bu Wancang
Raised in a strict family, YANG falls in love with a college student, LI, but she yields to her parents’ marital arrangement. Several years later, she encounters LI again. This time she chooses to pursue her true love, but a harsh reality awaits her. The final blow comes when a young man proposes marriage to her daughter, Ping-er, but has second thoughts upon learning their family history. For her daughter’s happiness, YANG must break with tradition.
封建家庭的閨秀楊乃凡愛上了大學生李祖義，但在舊禮教逼迫下，她沒有反抗的勇氣，於是奉父命嫁給了世家子弟黃大任，並生下一對兒女，但夫婦之間一直沒有什麼 愛情。在一個偶然的機會，楊乃凡與李祖義再次相遇，兩人舊情復燃，私奔出走，在鄉村過了一段生活，經濟的困難迫使他們必須回到城裡找工作，但這對新時代的 青年男女因禮教早已不容於舊社會。在顛沛的生活與沉重的負擔下，李祖義潦倒而死，楊乃凡為了女兒的幸福，陷入了人生的抉擇。 阮玲玉, 20 年代到30 年代的默片演员， 以精湛的演技， 赢得默片皇后的美誉。多年來，世人總以為《戀愛與義務》已經亡佚，1990年代初期才在烏拉圭發現此電影拷貝。經過整理、修復，《戀愛與義務》成為國家電影中心的鎮館之寶. |
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Four moods 喜怒哀樂, 1970, 144 minutes
directors : Li Han-Hsiang, Bai Jing-Rui, King Hu, Lee Hsing
Four Moods consisted of four costume period drama sections on folklore. Joy by Pai Ching-Jui, features a stylized guard of ghosts that keep a watchful eye on the movements of reliquary thieves. Anger by King Hu, reveals the disturbing fate of certain innkeepers who are less than honest with their customers. Sadness by Li Hsing follows the return home of a man whose family has been massacred. Happiness by Li Han-hsiang, a story of a water spirit gives up the opportunity to find a possible scapegoat and his kindness is rewarded by God. Originally the copy of Four Moods suffered from serious color fading and had a magenta tint, along with scratch problems. It was first restored via color correction using a duplicate film copy, and later entrusted to L'Immagine Ritrovata Film and Restoration Laboratory in Bologna, Italy, for its 4K digital restoration. The movie was invited to be shown in the Festival del film Locarno and has been lauded by filmmakers and the media worldwide.
由四段古裝鄉野奇談 組合而成，直言人性的善惡、因果的循環，其實無分古今。白景瑞執導的〈喜〉敘述一位書生貪戀女鬼美色的故事；胡金銓的〈怒〉改編自京劇〈三岔口〉客棧中人 為財死的俠義故事；李行的〈哀〉則取材自《聊齋》凡人為仇恨蒙蔽善念的悲傷故事；〈樂〉則是李翰祥取自《聊齋》一位老人和一位水鬼間的友誼，以及「為善最 樂」的精神。
本片是三大名導為紓解大導演李翰祥的國聯影業面臨的財務危機所拍攝，當初導演、主演卡司分文不取，傳為華語影壇一時佳話。《喜怒哀樂》拷貝片原有嚴重的退色偏洋紅色、刮痕問題，經過色彩校正，再委託義大利波隆納數位修復實驗室進行4K數位修復，已還原其優美畫面。 |
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End of a Century: Miea's story 世纪末的華麗, 2015, 25 minutes
director: Shen Ko-shang
In the hazy years of her youth, 25-year-old Miea used to be surrounded by admirers, but she did not want love that was troublesome. She is dating a married man who was old enough to be her father. She lives on the top floor of an outmoded apartment that seems incompatible with her beauty and the fake flowers and petals that she uses to decorate her room. Her man Duan telephones, saying he forgot his watch. The phone rings again the next morning, and the watch was forgotten once more. Miea goes to a photo exhibition then returns home. She refuses to answer any more phones.
Relative to the flowery descriptions and the world in the near future described in the original work, the director uses sophisticated, experimental images to capture the novel's simplicity and stability, and reconstructs a picture of time and space through ingenious mise-en-scène.
25歲的米亞有過被 眾仰慕者圍繞的年少輕狂，但她不要麻煩的愛情。米亞與有家室、年紀大得足以當她父親的老段交往，住在一間陳舊的頂樓公寓，公寓與她的美麗，以及她在房內裝 飾的、灑落的假花假瓣顯得格格不入。老段來電，說忘了帶錶，米亞家的電話是老得比這個年代還老的電話機，說好的分手似乎要再延期。攝影棚裡，臉上厚重的黑 妝僅留下她的眼神，攝影師不斷指示「女王降臨！」，隔天早上的來電，錶又忘了。去了攝影展，見了昔日女友，回家，米亞不接電話了。 相對於原著中對於華麗的描寫與近未來的世界，導演透過影像本身的材料性，從複雜的實驗影像，逐漸回歸到踏實，試圖透過空間感、地貌、道具到服裝來再現時代空間的寫實影像。影片也充分利用繁華影像與妝容的褪去，回到樸實，回應了文字背後的那份傷感的哀悼之情。 |
