假電影事件暨《片名：水墨騎士》：林子賀創作論述

Abstract

本研究的起始點，在於檢閱自身的創作歷程，思考自己與水墨、藝術之間的關係，以及觀察水墨與當代環境的現象。這包含許多專業人士對於水墨的討論，以及筆者這個世代對於水墨的看法；進而構思整個《片名：水墨騎士》的計劃。

此計劃屬於「假電影事件」的先端，亦是本研究企圖帶出的創作脈絡與主題。「假電影事件」乃從自身「慣習」的狀況，所設想出來的創作回應方式；特別是美國好萊塢文化，乃型塑筆者進行藝術計劃的幕後推力。因此，書內談到了扮裝、英雄、電影、影像背後的文化、解讀者的角度；企盼透過這些論述，能讓讀者理解這些創作上的意義與合理性。

本研究即在敘述筆者之於「假電影事件」的相互關係，以及「我」在這個事件中，所扮演「虛假導演」的角色。《水墨騎士》與它背後所隱含的敘事性，即這個「虛假導演」所拍出的第一部「假電影」；透過藝術方式，將之實踐。筆者以一個「水墨外來者」身分，透過媒材進入水墨，並從「作藝術」的思考方式走出，也期許自己能像《水墨騎士》的英雄劇本，在紛亂的戰爭世界中，為了某種價值、信念，堅持奮鬥著。This research begins from the examination of my creating process. I consider the relationship among ink, art and myself, and carefully observe the ink art and relative phenomena in the contemporary environment. As I rethink the discussion for ink among several professionals, as well as the opinions from the generation of Echo Boomer, the production of “Title: The Ink Knight” is begun.

This production is an initiation of “events of the fake movies”, but also the thread of context and subject of creation I try to bring out in this research. “Events of the fake movies” is a way of response by creating composed from self “habitus”; Hollywood culture is especially a push and modeling power to this production. Thus, the discussion of costume play, hero, culture behind the film, and the viewpoints of decoders are applied to explain and justify this composition.

This research describes the interaction between the “events of the fake movies” and myself, and states the “fake director” I play in this event. The Ink Knight with its embedded narrative is a “fake movie” by me, a “fake director”, who puts the theories into practice by an artistic way. I, as an amateur, enter the realm by the material of ink, and present as “practical art.” In this chaotic war world, I hope to be like the hero in The Ink Knight, with perseverance fighting for a value, a belief.