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 ̘ ̙ ̜ ̝ ̞ ̟ ̠ ̤ ̥ ̦ ̩ ̪ ̫ ̬ ̭ ̮ ̯ ̰ ̱ ̲ ̳ ̹ ̺ ̻ ̼ ͅ ͇ ͈ ͉ ͍ ͎ ͓ ͔ ͕ ͖ ͙ ͚̳ ̹ ̺ ̻ ̼ ͅ ͇ ͈ ͉ ͍ ͎ ͓ ͔̳ ̹ ̺ ̻ ̼ ͅ ͇ ͈ ͉ ͍ ͎ ͓ ͔̳͇ ͈ ͉ ͍ ̹ ̺ ̻ ̼ ͅ

༒􀀀†Aurora҉ Trip Sitter Videography Manifesto༙྇􀀀༒, 2017-2018

̎ ̄ ̅ ̿ ̑ ̆ ̐ ͒ ͗ ͑ ̇ ̈ ̊ ͂ ̓ ̈́†͊ ͋ ͌ ̃†̂ ̌ ͐  †́†̋ ̏ ̒ ̓ ̔ ̽ ̅ ̿ ̑ ̆ ̐ ͒ ͗ ͑ ̇ ̈ ̊ ͂ ̓ ̈́†͊ ͋ ͌ ̃†̂ ̌ ͐ ̆ ̐ ͒ ̈ ̊ ͂ ̓ ̈͗ ͑ ̇ ̈ ̊ ͂ ̓ ̈́†͊ ͋ ͌


Gooood morning bois and gurls! It’s such a great pleasure to see you all, and to walk side by side, in such a beautiful day on this piece of paper! Thank you all for joining this Aurora One-day Trip organized by Aurora Trip Sitter. Since the moment I speak I can feel your passionate sight scanning from the cover to the back of the book, friends in the front can see all good right? How about the friends at the back, can you see clearly? No matter you can see or hear clearly or not, are you ready to defy gravity with us?


I believe we need not to introduce the background of Aurora Trip Sitter since you guys have already knew it. We are students or graduates from different creative-based programs of higher educational institutes. We are workers of different industries, industrial labor, service labor, creative labor. Our work is not on life-long basis, we work without contracts, as part-time, as temporary, as interns, as freelancers, and sometimes jobless. As McDonalds costs more and more, our pimples grows and grows, and we sleep less and less. 


In a global perspective, when capitalism transforms into neo-liberalism, the relationship between employer and employee gradually turned into enterprise and self-employer, the class conflict becomes vague between the capitalist and labor.  Under the social structure dominated by the capitalist ruling class, labourers who gave up their active subject in exchange for freedom and cannot escape from becoming a passive object. It’s like this one-day trip, it cannot be done without all of your support. As we create artworks as artists, we are exercising the agency of the labor. We are not only trip sitter and artist, we are also strike workers, those workers who produced excesively in the beginning of Soviet Union. Under the context of neo-liberalism, our aurora trip sitting and artistic laboring are considered as excessive under the system of capitalism, and as a result will not be financially rewarded.  I draw my sword to cut running waters, still the waters flow; I lift my cup to drown sorrows, still the sorrows sink to new low.  This type of excessive production is a manifestation of the class conflict, the uneven distribution of resources, the capital and bureaucracy domination of the contemporary art world.  As a result, artistic creation is exploited.


!s +he game t00 faKe 0r me be!ng s+up!d ? |3ut w3 R n0t buy!ng the appeasement*.} We are not to please the institutions. We are not to dismiss leisures as professionals. We are not to depreciate arts as collections. We are not to commoditialize our art. We are not to create consumer goods with surplus capital value. We are not to decorate the capitalist’s home. The subject of our creation is art in itself. We are not to serve the elitist and capitalist in the art world. We choose a form not to be privatized and belong to the public. Yet, the presentation of materialistic art required physical space, look at you left, spaces are not applicable for individual artist, worksm themes and forms are not decided by the artist, artists are misplaced as passive and weak object. Now look at your right, non-materialistic arts have their own limitations, new media art requires expensive tools while performance art can only be presented live. It’s extremely lucky for you the viewer, and the Aura Trip Sitters to be on the same boat, to continue our adventure together in the form of a compromised breakout, a cheap, non-space-time restricted, dematerialized form of art – Video Trip. 




In the era of Post-Fordism, proletariat’s working space transits from a certain factory to different offices, sometimes out of offices, even at home. We work here and there and end up there is nowhere for them to connect with each other in each other in the physical space, which means proletariat lacking a real space to self-organize. As the working space being brought from wooden desks to mobile phones into the virtual world, the only connection is through the internet; the temporality of jobs put the connection on and off. Can you guys see that nuance of light? That’s the frustration of us not being connected in work, we hope to reach out to other comrades who are creating in respect of that very nuance of light.  We cannot get into the elitist circle, to become the conformists.  We cannot be an actor performing the role of an artist in every exhibition opening and art space, or reenact every small talk social encounter with other art elites.




Based on the disconnection of reality, we found our art and connection on the internet instead, where minds intersects rhizomatically with endless networks, it is virtual but real. This mindset exists within our group, rejecting tree as an archetype of thought. Hierarchy and fixed roles doesn't exist, each member is an atom scattering in the world, crushing with bonding spontaneously, new thoughts are created through the repetitive reconstruction. With the belief in a labor union’s power to negotiate with the capitalist, we choose to work as a collective instead of individuals, to fight with the capitalist in the system in our art scene.  Our art group is more similar to an ethnic-based labor union, than an international labor class, we stand here in the lower class of the art world, doing unpaid artistic labor continuously, we see ourselves as an imagined heterogeneous commune, we share a common art language of heterogeneity, a common ideology of heterogeneity. 


We disagree with the monotheist mainstream art world, idolizing the artist as a figure with aura,  or to place an artwork a holy relic. We are ҉the ҉priests҉of ҉Shamanism҉, only to connect art and audience, to transform audience’s wishes into arts, to transfer the spirit of art to the audience. We do not make art to earn a living, as we publish this book without receiving any artist fee, without elevating above audience, we are side by side with the audience. The notion of authenticity does not apply to our creations, it can be copied infinitely. As the sacred instrument buried together with the priests among their deaths, the sacred instrument will be reproduced and used by the new priest and so on. ♥♥♥


Please read the guide before entering the video activity room at the lowest:


//Suggested Code of Tripping//


When the trip begins, the tour guides takes up the role of trip sitters, to support the tripper by their sides, providing help anytime. We let them drink when thirsty, we cover them with blanket when cold, we give them a bucket when they want to puke, and we grab their hands when they freak out, we will do everything to make their trip safe and sound. Sitters are DJs as well, they play the comforting background music to help trippers accommodate and keep them out of the terror zone. Once the trip is over, we should reserve more time to relax, the tripper can take a shower (damn cool), hangout a bit, eat something (delicious), and discuss the experience, thoughts and feelings during the trip, exchanging ideas and inspiring each other.


Please follow "Suggested Code” clearly to know to show the true colors of tour guide. Of course, you keep it in a free flow! After all, we can't use your muzzle to face your head, forcing you to obey. Let’s officially begin the guided tour section:


Unreadable Readability


We are born in the early 90s, we are raised in the transition period of mass media from television broadcast to internet, we are evolved from the passive consumer of closed circuit of the media, to the active-and-passive prosumer in the open media. The information was delivered to us from television broadcasting, and now is liberated on the Internet through editing, commenting, translating and re/co-producting. When we read information as a textual analysis, we refuse to identify the hierarchical demarcation of the author at the top and the reader at the bottom. In the perspective of phenomenology, the author’s consciousness is not a transcendental existence, we refuse to integrate the author’s intentionality, and refuse to submit to the author’s dominated way of thinking. We realize it is not an equal sign between the readers’ noesis and the readers’ noema, text is not the passive object, we emphasize the integration of readers and the text itself, where the reader and the text become an intersubject. In the perspective of semiology, signified is not embedded only by a single signifer, they are not necessarily related, the signified is the amalgamation of friction between the author and the reader’s created différances and differences.  We emphasize the random operations of signs, where signifiers are spontaneously represented as multiple signifieds without orders. By contextualizing the information before creating artworks, we create a heterogeneous logic to the readability and the unreadability, and present this very logic in different art forms and movements, as Dadaists and Surrealists’ collages created by ready-made images and objects, instead of the binary aesthetics there, synthesize a third aesthetics between the dialectic of art and non-art. 


Invisible Visibility


As the progressive development of technology capitalism, the altitude of visual-audio media invention has approached and almost raises beyond the limitations of human being – MIT has invented a camera with 1 trillion fps that can capture the movement of light waves. While the human eyeballs can only process 60fps, we certainly can slow down and watch the 1 trillion fps moving images, yet we can never perceive the spatial and temporal transcendence within. Samsung is inventing an 11K screen which has a resolution of 2600 dpi at most; The resolution of human eyeball can reach 2600 dpi within 10 centimeters. We could see that in a near future technology could present the high-resolution illusion that our eyeball cannot realize.


Images has become too real to deny our reality. If we focus specifically on the medium of video itself in the perspective of formalism, we will turn our back against the nature of cinematography as a transparent and popular medium, only  subjective feelings are all that are left after we go beyond the objective illusions of video. This subjective feeling comes from a self-fulfilling harmony, a beauty of purity and serenity. This means that, arts, as free will, is at the state of pure existence. Video as a medium exceed the mere production of retinal experience, isolates art as an autonomous entity, detached from the public’s expectations of the visible arts.


Simultaneously, we are living in an era of the pursuit of retinal excitement.  The society of today faces the same problem of the 60s, an over saturated production of spectacular images.  The 60s had an over saturation of consumption driven images, the production of knowledge through images was triumphed by the capital ruling class.  Although now the knowledge of image production are in everybody’s hands, we still live in a society of the spectacle. It seems that we should not continue to interpellate the capital ruling class and political elitism with sarcasm, irony, parody, which is same as detournement, which the Situationists had used extensively.  This type of critique is similar to Marcel Duchamp’s perceptual distortion. Duchamp once said: 3very+h!ng b3c0m3$ @ c0nc3p+, d@+ !s, rely!ng 0n d@ th!ng !t$3lf, not da re+!na. Duchamp paved a new road, emphasizing the unknowability of thing-in-itself, but was misread as a critique towards the meaning of objects and images. Using the language as a tool to shift the perception towards ready-mades and images is to direct the viewer from one phenomenon to another.  This type of critique becomes a democratic consumerist semiotic criticism, seen in high and low brow art. Art fairs become populated with consumable works in detournements with capitalist critique, and the capital ruling class indulge in the purchasing of artworks with the hopes to repent their sins, similar to a devoted catholic in the medieval times. On the internet emerged a new public art form - Memes. It became a mass controlled ideology and political propaganda.  It presents a fictional negation that negates ideology, revolting against the inauthentic free choices in the democratic system ruled by the capitalists. For example, the 2016 US presidential election, the infinitely generative fictional memes replaced the objective coverage of the mainstream media as a major force to sway public opinion. An objective approach to ideology overwhelmed by a new era of post-truth and alternative facts. The art of memes is based on the distortion of the image, imposing the pain from a sense of fear to the audience that is unimaginable and infinitely large.  This pain stems from the infinitely large suppressive power from the capital ruling class and the political elite towards the commoner.


Before the twentieth century, "resemblance" has always been regarded as the major concern of Western art. Photographed image replace painting as the most realistic media has become the most popular popular art form. However, technology continues to present an opaque hyperreality, while Formalism still follow the ontology as the fundamental. The society is full of sublime pleasure-in-pain for the false critique of the spectacle images, and the ideology behind the spectacle can be overthrown by epistemology. The former creates an non-perceivable objective and invisible form; the latter promotes an non-perceivable subjective and invisible content. Our works are the dialectics between the invisibility from the resemblance of Formalism and the invisibility of non-resemblance of Conceptual Art, both are negated the dialectical negation, synthesize an alteration of resemblance. By returning to the unconscious thing-in-itself, a kind of dissemblance operation can represent the invisible reality into visible.


Identification of Heterogeneity


With the popularization and facilitation of audiovisual technologies, the portability of video camera and the accessibility of the production knowledge of moving images have led to the liberation of image production. That is seen in the multifuction of smartphones and mobile applications, that covers recording, saving, editing, disseminating, commenting, and re/co-creating. The liberation of images has encountered the era of individualism; most young people has been converting art into daily life everyday, in a practice of intimate image creation. The aesthetic experience has hence become similar to other forms of daily life and are hence intermingled, leading to an overproduction of images. (๑• . •๑) Taking the cloud storage of our friend as an example, over several ten thousands of photos and videos are stored. The starting point of the image production is a coincidental intuition, solely to record and narrate a private video archive and ethnography, constructing an individual, subjective, and visualized writing of microhistory. This creation, however, has always reflected the own visibility of an individual, as if a subject erroneously recognized a mirror image as the ego, which is actually a narcissist homogenous image, without the directivity towards otherness. 


In addition, consumerism encourages the aestheticization of politics through the hierachy of images. As lower-social workers situated in highly developed countries like us, to be able to afford Hollywood movie with budget up to billions of dollars, cameras and equipment to deliver 1920 x 1080 HD video quality, 0 blindspot disruption electronic monitors, under these high-end economic circumstances, such visual consumption has already blurred its initial capitalist ideologies based on exchange values, in result of a simulatively satisfying aesthetics. Contrastingly, we strongly emphasize rebellious҉revolutionary҉low-endi҉aesthetics. We insist to produce video art in low-budget and 1-person or multiple-person production team; low definition, low resolution, and low video quality with background removal and glitchy texture; low-finishing with subjects out of focus, unstable frames, non-continual editing, and unsynced audio and video.  Our low-end video aesthetics stresses on the politicification of art, which inherits the aesthetic of Imperfect Cinema and Third Cinema from the 60s. Aiming to overcome the dilemmas of working class, eliminating the disparity between producers and consumers, authors and readers, for the sake of popularity but not consumerism, bearing proletarians' duties but not being bureaucratic. Therefore, this type of videography does not serve artists, but bearing the otherness into an identification of heterogeneity.  This aesthetics is a form of political rebellion. The political potential of this aesthetic detach art from other activities, and resist transforming art into a form of living. Therefore, our art is based on a identification of heterogeneity. It is a collective clause between the artist and the public, an open creation for the public to copy collaboratively, an heterotopia that can be reached by identification.


Well, the guide ends here. I believe that everyone has been travelling in the aurora for a day with a certain sense of the historical background and dialectical methods of Video Trip and have a deep understanding of the role played by the Aurora Trip Sitter

Translated by Bobby Chan, Joseph Chen, Leo Cheng, Kylie Lee, Kelvin Yiu

Aurora Trip Sitter

Aurora Trip Sitter are combined with neurasthenia patients and deep internet users, including nice girl anna, xyzki, fotan laiki, Derederek Lam aka j/awesome and joseph2015chen aka yungseph2015.


The spirit of sited trip: everything in reality is messed up, we can chill only by crossing the predetermined boundaries of the society and showing a solid and honest confession. We will guide you to search for the path to aurora, enjoy the subtropical aurora under A Symphony of Lights, feel the joy and healing of losing independent thinking through contemplating the extreme society.

 ̙ ̜ ̝ ̞ ̟ ̠ ̤ ̥ ̦ ̩ ̪ ̫ ̬ ̭ ̮ ̯ ̰ ̱ ̲ ̳ ̹ ̺ ̻ ̼ ͅ ͇ ͈ ͉ ͍  ͉ ͍ ͎ ͓ ͔̳͇ ͈ ͉ ͍ 

༒􀀀†極 ҉ ༙྇光 ҉༙྇導༙྇ ҉賞༙྇ ҉團༙྇錄༙྇ ҉像༙྇宣 ҉༙྇言༙྇􀀀༒, 2017-18

 ̈́†͊ ͋ ͌ ̃†̂ ̌ ͐ †̋ ̏ ̒ ̓ ̔ ̽†͊ ͋ ͌ ̃†̂ ̌ ͐†̋ ̆ ̐ ͒ ̈†̋ ̊ ͂ ̓ ̈͗ ͑†́ ̇ ̈ ̊ ͂ ̓ ̈́†͊ ͋ ͌





放眼整個地球,當資本主義演變成新自由主義,僱主與僱員間被偷換概念成企業與自僱人士,資本家與勞動者的階級矛盾亦逐步模糊,放棄勞動者的能動主體換取勞動者的自由,但無法改變無產者於資本者支配的社會結構下成為受動客體。正如沒有各位的支持,這一日游是不能成團的。當我們以藝術家身份創作藝術品時,正正突顯了勞動者的能動性。我們不單是導遊和藝術家,還是黑特·史德耶爾(Hito Steyerl)筆下的一群震驚/突擊工人,意指是蘇聯初期過度生產的工人。在新自由主義的語境下,我們的極光導賞與藝術勞動於資本體制下被視為過剩,並不會得到可維持生計的回報。正所謂抽刀斷水水更流,舉杯銷愁愁更愁。這種過度生產正正體視當代藝術界階級矛盾,藝術界的資源分配不均,資本與行政的壟斷,而創作卻被剥削。


s'游戏呔叚. 还s'自己呔儍.ゞ?但莪們不會採取綏靖主義**},為了討好藝術建制,將閒餘貶斥為專業,將藝術墮落為收藏。不甘將我們的作品商物化,拒絕創作具剩餘資本價值的消費品,因為我們的創作並非資本家的裝飾品。因此,我們的創作為藝術主體。大家能與極光導賞團坐在同一條船上是極其幸運的,因為我們不願服務藝術界的精英與資本家,我們選擇是一種屬於公眾不被私有化收編的形式。同時物質化的藝術形式需要實質空間展示,但望望你們的左邊,藝術體制內的大多數空間不容藝術家自行申請展覽,展覽的作品、主題、形式均由策展人定斷,藝術家被錯置成被動弱勢的客體。而望望右面,眾多非物質化的藝術形式皆有自身弊端,新媒體藝術的生產工具過於昂貴,行為藝術只能現場觀賞。所以,錄像旅行,這種廉價又不受時空限制的去物質化藝術形式,於我們來說是一種節衷的突圍。










我們不會認同如同信奉一神論的主流藝術界,將藝術家視為帶著光環的佈像或明星般的個體的崇拜,將藝術品視為如同保存聖人靈光的聖物的珍藏;我們如同 ҉薩 ҉滿 ҉教 ҉的 ҉祭 ҉司,只是藝術與觀眾之間的聯絡人,我們將觀眾的祈願轉達為藝術,也可以把藝術的意志傳達給觀眾。同時我們的勞動沒有實質報酬,如同出版此書中,我們並沒收取任何藝術家費,也沒有超越觀眾的權限,處於與觀眾平等的地位。我們創作的藝術品,在我們的創作不具本真性,均可以複製再複製,就如祭師的神器,人死後也隨他陪葬,但將會有新的祭司繼任並重製神器再供使用,不停延續。♥♥♥


在深入底層的錄像 / 影像活動室前,請大家閱讀以下的指引:


//Tripping 的建議守則//


當Trip已經開始,導遊就變成純粹Trip Sitter的角色,在Tripper身邊支持,隨時提供援助,例如口渴時讓他喝水,覺得冷就替他蓋被子,想吐就給他一個桶,驚慌的時候抓住他的手等等,讓他trip得安全又放心。除此之外,Sitter亦扮演DJ的角色,為他的Trip播放寧靜舒適的背景音樂,並於適當的時候轉歌以配合Tripper心情或帶他離開恐怖地帶。Trip完之後,大家應預留較多的時間relax。Tripper可以洗個澡(超爽)、出去逛一逛、吃東西(超好吃的),討論一下trip裡面所見所聞,幫助他整合體驗,大家交流,互相啟發。













與此同時,我們身處一個對視網膜過度追求刺激的年代,現今社會面對如同六十年代的影像過度生產的問題。六十年代是一個充斥商品消費的景觀影像泛濫的年代,影像所生產的知識被資本階級所壟斷;至於現今,影像的生產知識已民主化至平民也基本上掌握,我們卻仍繼續身處景觀社會 (society of the spectacles) 之中。看來,我們不應採取或停留於國際情境主義者的批判方法 – 即異軌,以嘲笑、諷刺、戲仿等手法 – 質詢資本階級與政治菁英生產的影像。這種批判與馬塞爾·杜尚(Marcel Duchamp)的被扭曲的觀念路徑近似。他曾言:「對,①苆嘟變晟觀淰,即媞倚賴亊粅夲裑,侕卟媞視網膜。」杜尚開啓了觀念藝術的路徑,強調物自身的不可知性,卻被扭曲成對現成物/影像的意義的批判,以語言的操作改變觀眾對現成物/影像本身的意義的觀念上轉變,是將觀眾由一個現象繞圈回歸至另一個現象。這種歪曲的批判亦已演化成一種民主消費者式的符號批判,諸見於高等與低等藝術。在藝術博覽會上充斥著聲稱批判資本主義的異軌式消費藝術品,資產階級收藏家如同中世紀的天主教信徒般向畫廊購買贖罪卷減少自身的罪惡;而在網絡中一種大眾新藝術形式-模因(memes)[1],演化成一種由一般人大量操作異規式的觀念的政治宣傳,一種以虛構的否定去否定意識形態,否定資產階級民主社會的虛假自由選擇,就如二零一六年美國總統選舉中,特朗普與希拉里的虛構模因以無限數量化取代了主流媒體的有限寫實報導影響選民的意向,將對意識形態客觀的認知顛倒為主觀的後真相與另類事實的年代。Memes這種藝術操作來自一種對形象的歪曲,引起觀眾對無法想像的表象的無限大的恐懼產生的痛感,而這種痛感來自平民對政治被資本和精英階級所壟斷的無限大的力量的無力感。






隨著影音科技的普及化及便利化,攝錄機的可攜性和影像的生產知識的易達性助產了影像生產的解放,可見於智能手提電話以及流動應用程式的多功能,由拍攝、儲存、編輯、傳播、 評論、到(再)/(共同)創作。影像的解放遇上個人主義高倡的年代,大部份年輕人每天均實踐著私密的影像創作,將藝術變為日常生活,將美學經驗變得與其他日常生活的形式相似並溶接在一起,導致影像的過度生產。(๑• . •๑) 以我們的一位朋友的雲端為例,當中儲存了過十萬張照片與影片,影像生產的起點是偶然的直觀,單純紀錄並記叙成個人的錄像庫與民族誌,構建主觀個體的視覺化的微歷史書寫。但這種創作總是反射個體自身的可見性,如同主體基於觀看鏡像錯誤認同為自我,帶有一種自戀傾向的同質性影像,缺乏對他者性的指向。


另外,消費主義鼓吹將政治美學化在影像階級中呈現。身處高度發達國家的低端勞動者如我們,消費得起高預算上億的荷里活電影、高解像度如1920 x 1080的攝錄機材、高完成度無盲點干擾的電子屏幕,這些高端經濟下視覺消費品模糊了背後以資本為交換價值的意識形態而成的滿足擬像的表面美學。與此相反,我們強調極端的 ҉反 ҉叛 ҉式 ҉革 ҉命 ҉式 ҉的 ҉低 ҉端 ҉美 ҉學 ҉,堅持低預算一人而至數人的製作團隊生產的錄像藝術;低傳真、低解像度、低質素的去取背景等具失真與毛刺的錄像質感;低完成度如不聚焦被攝者、不穩定畫面、不連續性剪接、不同步聲畫等不完美的錄像技術。我們這種低階的錄像美學強調是美學的政治化,承繼六十年代的不完美電影或第三電影,尋求克服勞動者於社會分層下階級矛盾,消除生產者與消費者和作者與讀者之間的分野,為了大眾流行但非消費主義,為了承擔對無產者的義務而不至官僚主義。因此,這類影像並不服務於藝術家,而是對他者的一種承載,乃是一種異質性的認同。而這種美學表現了一種反抗形式的政治,這種美學經驗政治潛力來自於藝術與其他形式的活動的分離,以及它對任何轉變為生活形式的藝術的抵抗。因此,我們的藝術建基於一種異質性的認同,是藝術家與公眾集體構句,一種開放創作予公眾共同複製,一種只要認同便可到達的異托邦。




極光導賞團,是一個新成立的本地年輕藝術家團體。創作媒介橫跨錄像、表演、裝置、及新媒體。導賞員為神經衰弱病患者及網路重度使用者的結合,包括nice girl anna, xyziki, fotan laiki,  wateva aka j/awesome 及 joseph2015chen aka yungseph2015。導賞團的精神:現實一切都一團糟,唯有越過社會的規定界限,展示顛實不虛的坦誠自白,我們才可以放鬆。我們將引領各位團友尋找通往極光之道,在幻彩詠香江下欣賞亞熱帶極光,靜觀極端風景的過程中將感受失去獨立思考的快感與療癒。


​(Chinese Only)


影評人 登徒:「文筆流暢,結構完整,評論採取仔細的文本結合文化研究的分析,心思值得肯定。」

吸引力電影的回歸:《哭喪女》的中國藝術美學的面向, 2014

優異獎 | 短文組 | 影評有度徵文比賽2014 | 香港電影評論學會

哭喪女是一種只由女性從事的職業,是一種在遍佈世界各地的職業,責任是在喪禮上為死者哭喪 。在嶺南文化圈中,哭喪女被稱為「喊口婆」,在香港六十年代仍見「喊口婆」,但此職業現已絕跡於香港[1]。她們的職責是在喪禮上至少每天要哭靈三次,早喊茶,午、晚喊飯,呼喚魂魄回家享用飯菜,。而「喊口婆」在哭喪前需和主人溝通好挽詞的內容,了解死者與主人的關係,從而代替喪主表達對死者之情[2] 。縱然許雅舒導演的《哭喪女》並沒展現哭喪女喊飯或挽詞,改以一種𠵱𠵱呀呀的吟唱代替,利用一種非一般情況下可溝通的語言與亡者溝通,但目的卻為呼喊一種已逝去的早期電影風格歸來,並與已退卻的中國藝術美學交流。


《哭喪女》的片首引用《真誥》卷十六的《說世界》,以明言世界有三界,「上則仙,中則人,下則鬼。」但觀眾無從判斷空間與界的連繫,只可分辨密集壓迫的城市空間與寬廣遼闊的郊野山水。在影片前中段,觀眾可能以為前者是為人界,後者是為仙界,惟獨鬼界沒有出現。人界可理解為一個劇情片的空間,而仙界是一個實驗片的空間。人界展現出一個故事(fabula)按照時間和因果順序排列的事件,它按照古典荷里活敍事公式為:情節(syuzhet)=安寧→擾亂→鬥爭→平定擾亂[3]。《哭喪女》的情節則為:=綿正常地進行哭喪儀式→靈附綿身→師傅和歐陽醫生拯救綿卻失敗→綿從精神病院離開後並成了靈。仙界則強調是以電影作為吸引力( attraction)的系統,嘗試重拾早期電影(1906年前的電影)的特質,直接吸引觀眾,通過令人興奮的奇觀(spectacle)——激起視覺的好奇,並提供快感[4]。









[1] 梁家強,《祭之以禮》, (香港:梁津煥記,2011)。

[2] 朱鋼,「穗城風俗之喊口婆」,南方都市報,二零一零年一月十三日,

[3] 大衛·波德威爾(David Bordwell),李迅譯,《古典好萊塢電影:叙事原則與常規》,世界電影,一九九八年第二期。

[4]湯姆·岡寧(Tom Gunning),范倍譯,《吸引力電影:早期電影及其觀眾與先鋒派》,電影藝術,二零零九年第二期。

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