入圍理由 Reason for Nomination

區秀詒的現場電影〈山瘟〉改編自黎紫書的同名短篇小說，動態影像與文字之間的轉換是核心議題。如何體現馬共作為禁忌史與暴力史的論題，成為兩種不同媒介對話的關鍵。小說敘述游擊隊長山神「溫義」的傳奇故事，野史與口述不停交錯，電影感十足。而現場電影則透過幾台投映機與底片的表演，加上檔案影像的投映和猶如影戲般的聲效部署，投影在牆上的動態影像顯得一片模糊不清，始終在焦點之外。此種創置意圖是非常顯著的：馬共史像是幽靈，在那裏又好像不在那裏，看著半島上的遺民，相互對視、相互凝望，它的可見仍在歷史畫外。提名觀察人—孫松榮

AU Sow-Yee’s live cinema, The Mountain Epidemic, was an adaptation of a novella of the same title by LI Zi-Shu, making the shifting between moving images and text a core issue. How to represent the taboo and violent history of the Malayan Communist Party (MCP) became the key to initiate a dialogue between the two media. The novella recounted the legendary story of the guerilla leader, WEN Yi, who was deemed as a guardian of the mountains. Interwoven with an unofficial and oral history, it had a great sense of cinema. On the other hand, the live cinema was conducted with several projectors and films, combined with the projection of archive images and sound effect design that resembled shadow play, the moving images projected on the wall were blurry and out of focus the entire time. The creative intention was more than obvious: the Malayan Communist Party was like a ghost, possessing an absent presence, always looking at their adherents on the peninsula. While they gazed into each other, its existence was still excluded from history. (Commentator: SING Song-Yong)