2.5D 實驗短片/手繪動畫/紀錄片
2.5D Documentary-based Animation /
Digital Hand Drawn (TVPaint)/ 25fps on 2s / 6'17" / HD
Royal College of Art 2017

     「溝通,真的消失了嗎?」     
Does communication really exist?

英國皇家藝術學院 共同出品


在一個四方形的空間裡,主角被一道強光分裂成紅、藍兩色後,像是處在平行時空一般,再也無法感受到另一方的存在;直到偶然間閱讀了彼此的故事,一切才再次連結⋯⋯
Ever since being split by the powerful beam into two colours, Cyan and Magenta have been living in the same room, though without recognising each other. Not until they share and listen to the other ones’ stories, they and their paralleled worlds finally constitute a whole.

在架空的世界觀背後,主角的原型正是台灣人;而她互相交疊干擾卻又忽略的紅、藍兩種版本,正是幾個小小島上「怎麼好像沒有真的在溝通的、不同立場的我們」。
This documentary based story is based on history happened in Taiwan, while similar situations had happened, is happening and very possibly will happen again and again... here and anywhere, everywhere in the world.


你有沒有過「看著別人吵架,雙方各執一詞,自己卻無能為力」,或是「當我們身處其中,認為對方完全無法溝通」的時刻呢?
Have you ever feel that it's hopeless to communicate with someone, or in another scenario, seeing each side holding their assertions (that might all make decent sense) you just cannot sort the tangle by any means?

也許就是沒辦法吧,至少無法「馬上」。人總是會有立場的 —— 我們總是戴著不同度數、顏色的眼鏡看著世界。也許,偶爾和別人交換一下,或是聊聊彼此看到的世界,事情會一點點、一點點地不一樣。
Whilst we all see the world through lenses made so differently of whatever we grew up with, there's no such lens that fits all images. Hope we'd eventually see the miscommunication between us, and maybe start... something.

   2.5D...?   

觀看的方式
Ways of Seeing

#雙線敘事 (Duo Narrative) 與 #立體結局 (Anaglyph 3D)

不那麼好閱讀的《第二樂章》,有紅色與藍色兩條同時並進的故事線 —— 他們從互相重疊,到干擾,終至攜手成為一個完整的立體影像。願這麼不同的我們,不需暴力平板地「統一」彼此,而是在長期不斷的學習中,看見、聆聽,乃至理解同溫層外的他人,找到讓「每一個我們」互相包容的世界。
A new way of viewing including watching in 3D is the key feature of the film – to illustrate how things seem varied in perspectives, Chapter 2: is composed of two narratives, drawn in Cyan and Magenta, which overlap, interfere with each other, and eventually construct an utopic ending in anaglyph 3D together. The intent of this wilful design is to give a scent of how the masses stop listening to each other, and to allude to the deepest wish of having a magnanimous world that contains everyone's voice, someday.

「如果不能傾聽,我們就不是在對話,而只是在同個地方互相喊著無關話語的兩個人罷了。」
“… if you can’t do that (listening to one another), you’re not in a conversation. You’re just two people shouting out barely related sentences in the same place.”



—— 美國知名作家與廣電主持人 西萊斯特 Celeste Headlee: 10 ways to have a better conversation | TED Talk, 2015



※ Though this film is mainly designed to be watched directly, decoders/anaglyph glasses and a special cinema are provided in the debut screening and the following exhibition.

#雙線敘事 (Duo Narrative) 與 #立體結局 (Anaglyph 3D)

「沒有一種觀點是永遠正確的 There's no such perspective that always applies.」

 —— 我說的 Jiun’s Diary in Broken English, p.377


《第二樂章》揉合並轉化了古典的 Coluor Decoder 和 Anglyph 3D 技法,以紅、藍兩條先是截然不同,最後合而為一的故事線,迫使觀影者在各種觀影經驗的排列組合中選擇(對不起!),以體現現實中看清各種面向的困難 — 大多數的我們,若不是帶著既有的觀點清晰地看見故事的半邊,便是忙亂地追著大局不知所措。
By applying the idea of colour decoders and Anaglyph 3D, Chapter 2: challenges the way we watch films, which includes an inevitable choice the audience cannot avoid to make. While the two overlapping narratives, drawn in Cyan and Magenta, are so different in most part of the film, they cannot work without each other at the end, when they collaborate as a complete image in 3D. Focusing on either colour would make one miss the 3D ending; in the other way round, to ever unveil the grand finale requires baring both narratives messing together –– just as tricky as how one, in the real world, either see things with biases or as an outsider see mostly a mess if not with a high standard of focus.




※ Though this film is mainly designed to be watched directly, decoders/anaglyph glasses and a special cinema are provided in the debut screening and the following exhibition.

紅色的主角 The Red Lady
藍色的主角 The Blue Gal

(ch intro-magenta) etc etc etc (內容pending...)

(ch intro-cyan) etc etc etc (內容pending...)

其他章節 The Other Chapters

    第一章去哪了?
Where's Chapter 1?





Mon pays ce n’est pas un pays, c’est l’hiver
我的國家不是一個國家,是場無止盡的冬季。


—— 加拿大國寶級詩人 Gilles Vigneault, ‘Mon Pays(我的國家)’ (1964)






ㄐㄩㄣˋ Jiun Huang
畢業於英國皇家藝術學院 Royal College of Art,期待透過「會動的插畫」和「停下的動畫」與更多人對話。專精歐陸風格的數位手繪動畫,並跨足與插畫與版畫創作;由於長時間關注並渴望討論國內外社會議題,其敘事風格以「映照真實的奇幻」著稱。

RCA graduated / London & Taipei based / I draw 2-d animation and illustration for fun and £ / Founder (aka the only member) of IM - It Moves!! Long story short, here are my [online portfolio] and my [résumé]~~!!

臉書/Facebook ➝ www.facebook.com/im.anillus
IG/Instagram ➝ www.instagram.com/im.anillus
製作團隊 Credit

配樂 Composer

吳秉聖

聲音設計 Sound Design

ADAM JB
吳秉聖

混音 Mixing

SEAN MCGARRITY

專業顧問 Production Consultant

BIRGITTA HOSEA
TIM WEBB
SYLVIE BRINGAS
JOE KING
KATERINA ATHANASOPOULOU
MATTHEW ABBISS
DAN OJARI
PETER BLEGVAD
DOROTHEA SMARTT
ED FOSTER
MARIAN MENTRUP
PHILIPPE CIOMPI
DANIEL SAUL
GUY NESFIELD
DAVID DIXON
MIKE WYELD
SHELLEY WEBSTER

3D 動畫協力 Additional 3D Animation

RORY WAUDBY-TOLLEY
許智傑

傳統動畫協力 Additional 2D Animation

TAM LO
EVA WAGNER
SUSETE FURTADO
IZACH
YOU JIN KIM
EKATERINA KUSTOVA
DANIELLE ONG
KENN FRANCIS GARCIA
MARIA PIVA
CASSIE AMIS
MATTHIAS CUCCINIELLO
徐佳
張婷芝
JOMO L

互動設計 Interactive Website

MARC KERSTEIN
版塊設計 BLOCK STUDIO

標題字 Title

邱昱綺

片尾動態 End Titles / 2D Compositing

陳絹宓

學術支援 Academic Supervion

HIROTATSU OHARA
PIERRE MAGISTRY
林詠心
蘇怡帆
林淑雲
張椀喬
許涵
陳郁文
CENTRE OF TAIWAN STUDIES, SOAS 亞非學院台灣研究中心
倫敦講臺 FORMOSA SALON
國史館
故事| 寫給所有人的歷史

檔案圖像來源 Archive Resource

NATIONAL ARCHIVES AND RECORDS ADMINISTRATION
國立台灣美術館
李梅樹紀念館
國家發展委員會檔案管理局
AN-MAN ZHANG
二二八事件紀念基金會
二二八國家紀念館
楊逵紀念館
國立公共資訊圖書館數位典藏
國家人權博物館籌備處
高雄市立歷史博物館
陳澄波文化基金會
黃春蘭
財團法人蘆洲李宅古蹟維護文教基金會
WIKIMEDIA COMMONS

特別致謝 Special Thanks

UNIVERSITY OF WESTMINSTER
NATIONAL FILM AND TELEVISION SCHOOL
MAURICIO LOSETO BRITO
王睿凡
陳佑誠
曾致端
葉天慧
JOSHUA BUGG
戴映萱
程漢杰
廖玳佑
JESSICA CHEN
高捷

FAMILY & RCA ANI-MALS 15, 16, 17 GRAD
贊助協力
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