【Mao Space】独立动画放映:女性电影人

Fri, 18 Oct 2019 19:00:00 GMT ~ Fri, 22 Nov 2019 21:00:00 GMT
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    Mao Space放映活动


           10月18日  19:00--21:00(第一场)

            10月25日 19:00--21:00(第二场)

             11月22日 19:00--21:00(第三场)

    地点:上海徐汇区天平路112号


    *放映&讲座免费对公众开放,人数限定为40人

    更多关于12部动画作品与创作者的内容

    请持续关注Mao Space官方公众号


    初秋时节,风清月朗。我们将聚焦#女性电影人,为大家带来不同主题的独立动画放映活动。它们分为“困境”“认知”和“成长”三个单元,共呈现十二部精选动画短片,每单元特别邀请一位创作者进行分享讲座和讨论。从10月中到11月末,我们相约在周五晚的MAO空间,共同观看、聆听女性电影人的声音。


    MAO Space Indie Animation Screening


    Oct.18th 19H-21H 1st Section

    Oct.25th 19H-21H 2nd Section

    Nov.22th 19H-21H 3rd Section

    Venue:112 Tianping Road, Xuhui District, Shanghai


    The event is free and open to pulic with 40 places limited. Learn more about the 12 animation works and creators, please follow Mao Space official wechat.


    From this friday, Mao Space will bring you three independent animation film screenings. These screenings are foucssing on female filmmakers. The three screenings correspond to three different themes: “Overcome”, “Perception” and “Growth”. Each event will feature four films. During the event, we will also invite three creators of different professional attributes to share and share with the audience.


                电影信息汇总

        Movie Information Summary  





    活动当天小贴士

    活动时间为19:00-21:00,建议提前30分钟到并在后花园休息等候入场

    放映会准时开始,放映厅席位有限,满席后停止入场

    放映时长约为40分钟,请将手机静音并保持安静

    创作者讲座约为1小时,包括主题分享与Q&A互动


    The event time is 19:00-21:00.  It is recommended to arrive 30 minutes in advance and rest in the back garden wait for entance. 
    The screening will begin on time, we shall stop entering once the space get full.
    The duration of the show is around 40 minutes. Please mute the phone and keep quiet. 
     The talk is about 1 hour, including theme sharing and Q&A.






    三大主题放映



      三大放映主题


    生活是无法脱离困境的。发现它、受困于它、感受它、克服它,人们在这些状态里兜兜转转。三部来自纽约的记录动画片响应着美国社会最火热的议题:我们需要为女性提供一个坦诚、直率的谈论她们困境的空间。《女性电影人的故事》中凯莉·加拉格尔通过串联电影史上重要的女性电影人来强调社会身份的提升,在宣扬和科普历史人物的同时,我们不由得被五光十色的画面和女权朋克乐队的音乐所鼓励;凯莉的动画热衷于政治讨论,《比一千名暴徒更危险》则展现女权主义和工人运动的代表人露西·帕森斯的抗争生平。洁米·埃肯斯在《受难是最轻的伤害》里从敏感的性侵话题出发,讨论女性所面临的挑战。她描述了受害者的创伤事件,并最终战胜痛苦的励志故事。另一部由蔡采贝创作的非叙事类短片《Half Asleep》则表达了欲望和挣扎之间紧紧拉扯的困境。她将人体四肢抽象出来,尝试通过图像的视觉张力和节奏来表现黑暗中诗一般的情绪。


    Life cannot escape dilemmas. Discovering it, being trapped in it, feeling it, and overcoming it, people alternating between these states. Three films from New York responded to the burning issues in American society. We need to make a space for women to speak honestly and candidly about their struggles. In A Herstory of Women Filmmakers, Kelly Gallagher emphasizes the social identity of women through the important historical figures of female filmmakers. We are encouraged by the colorful images and the feminist punk band music while receiving the essential knowledge about film history. Kelly’s animation is passionate about political discussion. More Dangerous than A Thousand Rioters shows the life of Lucy Parsons, the representative in the feminist and labor movement. Jaime Ekkens is talking about the challenges facing women in the film The Suffering is the Easy Part. It starts from the most sensitive topic, a sexual assault. Jaime unveiled an inspirational story that describes the victim‘s traumatic episode and ultimately overcomes suffering. Another non-narrative short film Half Asleep by Cai Caibei expresses the intense dilemma between desire and struggle. She abstracts the human limbs and tries to show the poetic mood in the darkness through the visual tension and rhythm.



    △ 截图《女性电影人的故事》

    凯莉·加拉格尔/ 2009 / 15’13’’ 

    ©Kelly Gallagher A Herstroy of Women Filmmakers



    △ 截图《 比一千名暴徒更危险》

    凯莉·加拉格尔/ 2016/ 06’12’’

    ©Kelly Gallagher More Dangerous than a Thousand Rioters



    △ 截图《受难是最轻的伤害》

    洁米·埃肯斯/ 2015/ 07’30’’

    ©Jaime Ekkens Suffering is the Easy Part



    △ 截图《Half Asleep》

    蔡采贝/ 2018 / 05’ 

    ©Cai Caibe  Half Asleep




    ​在第二单元中,创作者用不同的角度刻画对世界的认知,引发观众对自身生命的思考。艺术家李爽在作品《T》中塑造了一位淘宝客服的销售及其工作日常。大段内心独白带着观众探索人物,然而我们的预期也许到最后完全被翻转,作品标题也暗示了身份转化的微妙状态。一部短小却掷地有声的作品《填空者》来自出生于台北的艺术家赖仙耘。规律性的重复生活中突然生长出一个疑惑:假若生命的起源是从一颗蛋开始的,那么之后的人生呢?生命从开始一直到结束,之间的部分像是巨大的空格需要填满。而在繁忙现代生活中人们该如何填这个空呢?另外两部水墨动画来自艺术家刘毅,她以中国传绘画的宣纸与毛笔作为创作的媒介。《一只乌鸦叫了一整天》是一部带有纪录片色彩的印度旅行游记,不断转换的纪实画面和充满异域色彩的美妙场景,最终呈现出作者对当地日常状态、情感、欲望与死亡的亲历和思考。《白水郎》这一族群本是遍布在东南沿海一带以船为家的水上居民,作者把普通的生活带入剧场:跟着急速运行的生活节奏,人与人、人与城市的矛盾冲突,在瞬息万变之间回归到水面小鱼吐泡的宁静。


    In the second section, creators use different perspectives and portray a variety of perception regarding the world. Trigging the audience to think about their own lives. Artist Li Shuang has created sales routine and daily work of a Taobao customer service in her work T. A large part of the inner monologue allows the audience to explore the character. However, our expectations may be completely flipped at the end —— the title of the work also implies the subtle state of identity transformation. A short but powerful film Blankfillers comes from a Taipei born artist Celeste Lai. In the repetition of life, a question suddenly arises: If the origin of life begins with an egg, then what about life afterwards? From the beginning to the end of life, the part between, seems like a huge blank need to be filled. In the busy modern life how blankfillers going to deal with it? The other two ink-and-wash animations come from artist Liu Yi, who uses traditional Chinese rice paper and brush as the medium for her creation. A Crow has been Calling for A Whole Day is an Indian travel journal with documentary elements. Constant switching between documentary fragments and beautiful exotic scenes, which ultimately presents the authors personal experience and thoughts on the local daily state, emotion, desire and death. The Earthly Men is a group of resident who live in ships in the southeast coast. Liu Yi brings the ordinary life into the theater: following the fast-paced life rhythm, the contradictions between people, people and the city return to calm waters in rapid changes.



    △  截图《T》

    李爽/ 2017/ 15’17’’ 

    ©Li Shuang T



    △ 截图《填空者》

         賴仙耘 & 佩顿·凯斯勒/ 2014 / 03’16” 

    ©Celeste Lai & Peyton Skyler Blankfillers


    △ 截图《一只乌鸦叫了一整体》

          刘毅/ 2016 / 11’30’’ 

    ©Liu Yi A crow has been calling for a whole day 




    △ 截图《白水郎》

         刘毅/ 2017 / 05’40’’ 

    ©Liu Yi The Earthly Men





    第三单元的“成长”经历集中在中国八十至九十年代出生的这一代人。无论是家庭故事、生活环境还是对未来世界的构想,都印刻着清晰的痕迹。雷蕾的《讳言》从现今社会题材的视角出发,风格大胆又无比真实。笔触强烈的布面油画风格与孩童稚嫩的情感形成巨大反差,赋予作品现实意义的沉重色彩与勇气。朱彦潼的《杯子里的小牛》与宋思琪的《妹妹》则把故事的落脚点放在成长中亲人情感关系上。无论是父女还是兄妹之情,我们总能在其中看到自己的童年。这两件作品用集体回忆,侧写出这代人在二十余年来与中国共同发展、变化的日常生活片段。《期望线》这部带有科幻色彩的虚构故事由施蕊妮在英国留学期间创作,并把我们已长大成人的视角投向未来一种国际化、甚至去人类中心化的背景,此时的人工智能已渗入当今社会的方方面面承担起重要角色。


    We feature growing-up in the 3rd Section. Mainly, we focus on the generations born in the time period from the 80s to the 90s in China. The content covers the topics regarding family stories, the living environment and the future world. All of those have been vividly described in the films. From the perspective of a contemporary society, Shadow, created by Lei Lei has a bold style and realistic content. The grave tone of the motif of a canvas painting shows a striking contrast to the children’s immature emotion. This endows the literary work with realistic gloomy colors and remarkable courage. On the other hand, My Milk Cup Cow by Zhu Yantong and Sister by Song Siqi, are based the story of constantly-developing family bonds and relationships. No matter whether it is from the detailed descriptions regarding between a father and his daughter or between a brother and his sister, we can see our own childhood. Both of the two works profile fragments of the everyday life of this generation. Which have been constantly changing, along with the development of China, over the past twenty or so years in our collective memory. The science fiction film Desire Line by Shi Ruini was made when she was studying in the United Kingdom. In the film, our grown-up perspectives have been thrown to the future of internationalization and de-anthropocentrism, where artificial intelligence has penetrated into every single aspect of contemporary society and played a significant role.



    △ 截图《讳言》

    雷蕾/ 2017 / 05’32’’ 

    ©Lei Lei Shadow




    △ 截图杯子里的小牛

    朱彦潼/ 2014 / 11’03’’  

    ©Yantong Zhu My Milk Cup Cow 


    △ 截图《妹妹》

    宋思琪/ 2018 / 08’02’’ 

    ©Song Siqi Sister



    △ 截图《期望线》

    施蕊妮/ 2018 / 06’59’’ 

    ©Shi Ruini Desire Line



    #女性电影人#

    独立动画放映项目  

    ------------------

    主  办 方:MAO SPACE

    项目策划:李典珊

    项目助理:段诗雨  吴淼

    视觉设计:梅静晨

    文字审校:Jaime Ekkens  许智宇  赵佳琦

    支持机构:费那奇 LASS   

    特别支持:光启文化



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