Searching for tag: tsang-chun-leung-steven
The Ventriloquists 19. on nonsense in Svankmajer’s Jabberwocky (1971) by Steven Tsang 有關「物件」的動畫，打開怪趣無釐頭之門，打開文明歷史規範的一些「真相」
An assembly line of human figures grinding human figures for food, dolls feed dolls, doll eats dolls. Ironing, flattering, being dressed, being cut up, being tamed… Beyond Svankmajer’s dramatization of carnivorous acts, Steven Tsang sees the politics of nonsense, which the animator structured against the paradigm of human civilization. The animator wants us to see differently, and asks a different sort of questions in following a narrative unique to his use of stop-motion animation. 看到喂小娃娃的大娃娃就知道是女的，看到舞動的水手裝就自動知道是男的。再看下去，人吃人，有血有肉的黑貓時不時推倒積木，一面是歷史砌圖，另一面是迷宮的路線…最終，它被鎖在籠裏動彈不得。屋子裡一個「人」也沒有，卻充滿了人類的活動。物件長年累月吸收了人類強加它們身上的「用途」、「價值」，也穿背著人類的規範，像鬼魅的模仿著我們的「正常」活動。曾俊良看到歷史、文明、性別的社會結構。能看到，因為看穿了動畫大師史文梅耶以物件為本的獨特敘事結構和跨媒想像。
The Ventriloquists 05. The Hand that moves the artist, 2 pictograms on forced conformity 《腹語系》之隻手遮天。兩個解構操控與失去自主的數據圖像
The Hand comes in from everywhere. It interrupts, commands, dominates…; it is omnipresent, irresistible, almighty, dressed and decorated nonetheless mercilessly brutal.. Such is the condition of an artist who wakes up one morning to find his normal routine totally ruled invalid. 木偶藝術小子一覺醒來，伸伸懶腰又期待著新一天的開始。怎知道一夜間世界變透了。一隻無名的手，由溫柔禮待到強權粗暴，無處不在，無孔不入。
