目前日期文章:201103 (7)

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這次的冬季似乎特別漫長,一波緊接著一波的冷氣團教人格外想念夏日酷暑烈陽的滋味,卻忘記溼熱溽暑曾是如何惱人。等到夏天真的來了,收起厚重的衣物,換上輕薄短衫,冷的直打哆嗦的日子便又馬上拋諸腦後,開始抱怨夏天過於煩熱。日子就在一次又一次的循環中度過,這樣的無感隨著年歲而增長,圓滑了的做人處世,卻也順便把感知的觸角給磨去,成為沒有趣味的中年人。對我而言,這樣的事情是莫大的悲劇,因而戒慎莫為如此。但漸漸我已發現,對於「變成無趣」的過程的洞察,本身已經是過人的感知,既然如此,也無所謂戒慎不戒慎,而是自然而然的走在一個非常之路上。而且,也許從很久以前,就已和他人分道揚鑣。

開始不冷的日子,暖冷氣的相遇便是陰霾的天氣,髒灰的天空下著間歇細雨,空氣飽滿著濕黏的水氣,伴隨著空氣中的煙塵,沾附在外露的肌膚上。這樣不討喜的日子我便知道是木棉花開的時候。

每次的花期總不免提醒時間逝去的事實,所謂時間正是起於先後次序的感知。猶記得年前的自己存在股非如此不可的衝動,動機卻還得努力回想。動機之被遺忘,這也間接說明了,人之動機往往非出於理性,而是出於直覺。原因其實確實存在,但非全出於外在,而在於內心裡出於某種直覺式的反應,累積足夠能量後終於化為行動。要是人們問我「關於我」此一大哉問,人到中年的我稍稍感到欣慰與自傲的是,我還能夠列舉出幾項我已經確定的要素以玆回答:「我是個會行動的人。」

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The survivors Jim met after his coma are Mark and Selena but later Mark was killed by Selena because he’s bitten and infected during a fight with zombies in Jim's house where they went for Jim's request of seeing if his parents were alive. But they had eaten pills to suicide and left a note to Jim on which they wrote about their despair of the hopeless and collapsing civilization.

They’re attacked due to Jim’s candle light in the night for watching photos reminiscent of his past family memory. So we can say Jim caused Mark’s infection. But, Selena is the person who killed Mark just because of suspicious. Jim asked her how was she sure Mark was infected? Selena answered that she would also kill Jim if he might have been infected, “in a heartbeat”. Never hesitate.

In the later plot, the director is talking about the gradual loss of hope and humanity, along with the devastation by virus. The military, government, and all society are stepping to ruins. And Danny Boyle conceived audience of Selena’s change by Hannah and her father Frank.

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這是一個悲傷的故事,敘述伊拉克庫德族少年畢拉偷渡到法國,並嘗試游泳橫跨海峽到英國去尋找女友米娜的故事。在法國他認識的游泳教練西蒙得知後協助他,也許起因於某種對於破滅的婚姻的救贖心理。

「他已經走了四千公里,現在他想游過英吉利海峽」
「當妳離開我,我甚至懶的過馬路去追妳」

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隨著時間的累積,不但沒有消退,反而因為時間更加久遠導致的不真實感漸增,但是自己曾經經歷並且記存在記憶裡的卻無疑是真實的。那些感受文字難以傳達,也許唯有當正巧類似的時刻,方能明白曾經從其他旅人聽來的感受為何。

從吐魯番前往敦煌的路上,我被火車列車員搖醒準備下車。神志恍惚的打理行李後,腦筋一片空白的坐在凌晨四點行走在絲路沙漠上的火車裡,看著窗外銀白色月光灑在沙漠上。車內一片寂靜,偶有酣聲,一片漆黑,除了車廂之間的小燈,以及窗外月光。醒松的眼睛餘光看見鐵軌旁反射微弱光亮,想是寒夜殘雪吧。

孤旅的感覺很難那樣強烈了吧?正身處遙遠的他方,正行走於陌生的土地,正經歷一段迥異於日常的時間。

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故事背景的取材,背景的營造,敘事的鋪排,演員表現,以及戲劇張力的運用,橫貫所有的是寫實主義的觀點。

看了爾冬陞的兩個作品《門徒》以及《新宿事件》。我先看的是較晚推出的《新宿事件》,相較之下整體的敘事以及人物的刻劃較為完整,這兩部的上映日期只隔一年,不知道是否拍攝的檔期重疊,而讓較慢上映的《新宿事件》得以修正瑕疵?

取材

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Just finish the SF novel "Spin". interesting, readable, but not very excellent. Something profound and touching, but if criticizes it with a serious yardstick, many things, including the story and the motif, there are still a few obvious defects even faults in it.

The story is quite simple and the writer separates them into two parts which causes a motive for readers to eager to know what happened and the connection between the two parts. And the problem is if either of them cannot sustain the strength but was turned into a tasteless plot, this kind arrangement would weaken the novel. At the final he gives us nothing but the time flow recombination. If we re-read it again but put them into a single time axis—put the present part after the past part—and I don’t tell the huge different and dramatic effect except giving readers a puzzle of how it’s going to be like this —yes, I circle back the origin I just said, and here we got the key: the truth is, the plot of present time is just a passage of not-so-hard struggling to the new world result from a abrupt reason the writer gives us hastily in the last few pages: they are hunted by government who wants to withdraws back the high-classified information including the documents and their bodies by violence and murder, and all of this doesn’t astonish me much. Therefore, this flashback becomes a burdensome arrangement.

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This is one of the songs which had ever encouraged me to travel.

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