唔只係報導Mirror紅咁簡單

幾日前，《New York Times》有個關於Mirror嘅報導，主題係話Mirror响香港呢個環境下，用悅耳嘅節奏提供咗一個逃避嘅機會，响無常嘅時候，比焦慮社會一啲鎮痛（Mirror, perhaps precisely because it offers an escape with a catchy beat, has provided a musical balm to an anxious city at an uncertain time.）。當然，離不開就會介紹咩係我老婆嫁左比Mirror導致婚姻破裂關注組（“My Wife Married Mirror and Left My Marriage In Ruins.”）、Anson Lo、Keung To、Mirror演唱會、周街都係佢地嘅廣告等等，但報導嘅核心唔係講佢地紅咁簡單，而係整個現象。

//Mirror’s ascent has also coincided with a new, more intense stage of the Chinese government’s pressure on the city. For people of all political persuasions, the band has become a sort of ideological canvas.//
（Mirror熱潮係响中國政府對呢個城市加大壓力之下同時出現，對所有政治光譜嘅人黎講，Mirror就好似某種理念畫布一樣。）

即係咩人會睇到咩嘢，然後各自聯想....

Patreon原文：
New York Times好有趣嘅Mirror報導
https://bit.ly/3k3sJTy

話時話，原來【我老婆嫁左比Mirror導致婚姻破裂關注組】係咁譯“My Wife Married Mirror and Left My Marriage In Ruins.”，學到嘢。

#衝出國際系列

報導：
《New York Times》This Boy Band Is the Joy That Hong Kong Needs Right Now
https://www.nytimes.com/2021/08/12/world/asia/hong-kong-mirror-band.html?smid=url-share

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📢乞食廣告：文字、時間與心血有價
🥣每日更新乞兒兜：
https://www.patreon.com/goodbyehkhellouk

🎁特別留意8月Patreon奧運送禮
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最近更新：
客席作者Billy文章原文：
安德魯王子性侵民事訴訟：司方管轄權的關鍵性考慮
https://bit.ly/3k6pfQu
Impossible to Ignore的Paralympics
https://bit.ly/3ySS48Z
阿富汗首都極速淪陷嘅原因
https://bit.ly/3siVvDv
"Curry"咖喱呢個字係種族歧視，應該取消？
https://bit.ly/3seLaso
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"China does not tend to perceive Afghanistan through the prism of opportunities; it is almost entirely about managing threats."

"Although Beijing is pragmatic about the power realities in Afghanistan, it has always been uncomfortable with the Taliban's ideological agenda," said Andrew Small, a fellow at the German Marshall Fund in Washington.

"The Chinese government fears the inspirational effect of their success in Afghanistan for militancy across the region, including the Pakistani Taliban."

#新刊出版 New release!!!​
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Voices of Photography 攝影之聲​
Issue 30：美援視覺性──農復會影像專題​
U.S. Aid Visuality: The JCRR Issue​
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本期我們重返影響台灣戰後發展至關重要的美援年代，尋索過往在台灣影像歷史視野中遺落、但卻十分關鍵的美援時期台灣視覺歷程──「農復會」的影像檔案。​
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成立於1948年、以推行「三七五減租」和「耕者有其田」等土地改革與農業政策聞名的農復會（中國農村復興聯合委員會，JCRR），被認為是奠定二十世紀「台灣經驗」基礎的重要推手。然而很少人留意，這一農經專業的美援機構，在1950至60年代拍攝了大量的照片、幻燈、電影，並生產各種圖像、圖表、圖冊與海報，在冷戰年代與美援宣傳機制緊密連結，深深參與了戰後「台灣（視覺）經驗」的構成，影響著我們的視覺文化發展。​
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冷戰與美援如何形塑台灣的影像與視覺感知？本期專題透過採集考察眾多第一手的農復會早期攝影檔案、底片、圖像、影片與文獻資料，揭載鮮為人知的美援年代視覺工作，追尋這一段逐漸隱沒的戰後台灣攝影與美援視覺性的重要經歷。​
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其中，李威儀考掘農復會的歷史線索與視覺文本，探查美援的攝影檔案製程、「農復會攝影組」的成員蹤跡，以及文化冷戰期間從圖像、攝影到電影中的美援視覺路徑；蔡明諺分析1951年由農復會、美國經合分署與美國新聞處共同創辦的《豐年》半月刊，從語言、歌謠與漫畫等多元的視覺表現中，重新閱讀這份戰後最具代表性的台灣農村刊物潛在的意識形態構成與政治角力；楊子樵回看多部早期農教與政策宣傳影片，析論農復會在戰後台灣發展中的言說機制與感官部署，並從陳耀圻參與農復會出資拍攝的紀錄片計畫所採取的影音策略，一探冷戰時期「前衛」紀錄影像的可能形式；黃同弘訪查農復會在1950年代為進行土地與森林調查所展開的航空攝影，解析早期台灣航攝史的源起與美援關聯，揭開多張難得一見的戰後台灣地景航照檔案。​
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此外，我們也尋訪生於日治時期、曾任農復會與《豐年》攝影師的楊基炘（1923-2005）的攝影檔案，首度開啟他封存逾半世紀、收藏農復會攝影底片與文件的軍用彈藥箱和相紙盒，呈現楊基炘於農復會工作期間的重要文獻，並收錄他拍攝於美援年代、從未公開的攝影遺作與文字，重新探看他稱為「時代膠囊」的視覺檔案，展現楊基炘攝影生涯更為多樣的面向，同時反思「美援攝影」複雜的歷史情愁。​
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本期專欄中，李立鈞延續科學攝影的探討，從十九世紀末天文攝影的觀測技術，思考可見與不可見在認識論上的交互辨證；謝佩君關注影像的遠端傳輸技術史，檢視當代數位視覺政權中的權力、知識與美學機制。「攝影書製作現場」系列則由以珂羅版印刷著稱的日本「便利堂」印刷職人帶領，分享古典印刷傳承的工藝秘技。​
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在本期呈現的大量影像檔案中，讀者將會發現關於美援攝影的經歷與台灣歷史中的各種視覺經驗，還有許多故事值得我們深入訪查。感謝讀者這十年來與《攝影之聲》同行，希望下個十年裡，我們繼續一起探索影像的世界。​
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● 本期揭載未曾曝光的美援攝影工作底片、檔案與文件！​
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購書 Order | https://vopbookshop.cashier.ecpay.com.tw/​
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In this issue of VOP, we revisit the era of U.S. aid, a period that was of utmost importance to Taiwan’s post-war social and economic development, and explore Taiwan’s much forgotten but crucial visual journey during this era ── the visual archives of the JCRR.​
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Established in 1948, the Chinese-American Joint Commission on Rural Reconstruction, or the JCRR, is widely known for the implementation of various land reform and agricultural policies, such as the “375 rent reduction” and “Land-to-the-tiller” programs. Hence, the Commission is considered an important cornerstone to laying the foundations of the “Taiwan Experience” in the 20th century. That said, very few are aware that this U.S. aid organization specializing in agricultural economics was also closely associated with the American propaganda mechanism during the Cold War, and had in its possession countless photos, slides and movies, and produced various images, charts, pamphlets and posters. All these contributed to the formation of the post-war “Taiwan (Visual) Experience”, deeply influencing the development of our visual culture.​
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How exactly did the Cold War and U.S. aid shape Taiwan’s image and visual perception? This issue’s special feature uncovers the little-known visual activities from the U.S. aid era by investigating the collection of JCRR’s first-hand photo files, negatives, images, films and documents, and traces this important journey of post-war Taiwan photography and U.S. aid visuality that has gradually faded from people’s minds.​
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Among them, Lee Wei-I examines the historical clues and visual texts of the JCRR, and explores the production of the U.S. aid photographic archives, following the traces of the members of the “JCRR Photography Unit” and the trails of U.S. aid visuals during the Cold War from images and photography to films. Tsai Ming-Yen analyzes the diverse visual manifestations, such as languages, ballads and comics, contained in the semimonthly publication Harvest, which was co-founded by the JCRR, the U.S. Economic Cooperation Administration, and the U.S. Information Service in 1951, presenting a new take on the ideological and political struggles that were hidden beneath the pages of this agricultural publication that could also be said to be the most representative publication of the post-war era. Yang Zi-Qiao looks back at the early agricultural education and propaganda films, and analyzes the discourse and sensory deployment utilized by the JCRR in the development of a post-war Taiwan and the possibilities of the “avant garde” documentary films from the Cold War period through the audio-visual strategies gleaned from director Chen Yao-Chi’s documentary project that was funded by the JCRR. At the same time, Houng Tung-Hung checks out the aerial photography taken by the JCRR in the 1950s for land and forest surveys, and uncovers the origins of Taiwan’s aerial photography with U.S. aid, giving readers a rare glimpse at post-War Taiwan’s aerial landscape photographic archives.​
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In addition, we will explore the photographic archives of Yang Chih-Hsin (1923-2005), a former photographer who was born during the Japanese colonial period and worked for the JCRR and Harvest, unearthing negatives and documents kept away in the ammunition and photo-paper box that had stayed sealed for more than half a century. This feature presents important files of Yang during his time with JCRR, and photographs taken and written texts produced during the U.S. aid era but were never made public. We go through the visual archives enclosed in what he called a “time capsule”, shedding light on the diversity of his photography career, while reflecting on the complex historial sentiments towards “U.S. aid photography” at the same time.​
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Lee Li-Chun continues the discussion on scientific photography in his column, exploring the interactive dialectics between the seen and the unseen through the observation technology of astrophotography in the late nineteenth century. Hsieh Pei-Chun focuses on the history of the technology behind remote transmission of visuals and examines the power, knowledge and aesthetics that underlies contemporary digital visual regime. Finally, this issue’s “Photobook Making Case Study” is led by the printing experts at Japan’s Benrido, a workshop that is renowned for its mastery of the collotype printing technique.​
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Through the large collection of photographic archives presented in this issue, readers will see that there remain many stories on the photography process in the U.S. aid era and various types of visual experiences in Taiwan’s history that are waiting to be unearthed. We thank our readers for staying with VOP for the past decade and we look forward to another ten years of exploring the world of images with you.​
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Voices of Photography 攝影之聲​
vopmagazine.com​
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#美援 #農復會 #冷戰 #台灣 #攝影​
#USAID #JCRR #ColdWar ​
#Taiwan #photography
#攝影之聲 #影言社

這次要來聊聊查克史奈德的第一部電影《活人生吃》，跟《活屍大軍》比起來如何? 跟它的原作比起來又如何?


Source:
https://horrorobsessive.com/2019/07/16/dawn-of-the-dead-remake-ignores-romeros-ideological-criticism/

https://youtu.be/gY7EnEuqb7M



FB(有各種影視迷因): https://www.facebook.com/tessereq/
加入會員:https://www.youtube.com/channel/UC0Q-fBheHysYWz9ObSEzMdA/join
如果你剛來，請看這裡: https://www.youtube.com/watch?v=iZj5phF46N8&list=PLNsYSXaDLA89TvBjuV3h7l0wVRSPLk7FJ&index=1
諾蘭電影全解析: https://www.youtube.com/watch?v=cv3pZ8GCNnI&list=PLNsYSXaDLA896bdu-7_WbeX4sDLI5JIjS
=====================================

剪輯：Bruce Lu
編輯/監製：黃豪瑞（Jasper）

歡迎來到超粒方，一個主要探討影視作品的頻道，在這裡，你可以看到各種電影和影集的觀點解析，從熱門大片道經典老片到必看的冷門電影! 有時也會探究時事。還有迷因，非常，非常多的謎因


All videos on my channel are only used for commentary.
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

この楽曲は、1,000人以上の方とのリモート作詞、合唱で創られました。
DL/ストリーミングはこちら：https://big-up.style/TlXomKU1o4

ゼロから皆さんと曲を制作するという初めての経験は、一人部屋にこもる日々の中で大きな心の支えと未来への希望になっていました。与えられた今日をどう過ごすか、あらゆる変化が求められる毎日の中で自分はどうありたいのかを、考えさせてくれる曲になったと思います。窓の外で交わるそれぞれの24時間に思いを馳せながら、いつかライブ会場で皆さんとこの曲を歌う日を夢見ています。
歌詞は皆さんの言葉を行ごとに組み合わせて作っていきました。お互い顔は知らないけれど、こうして一つの曲の中で共に生きている。みんなを代表して歌わせてもらっているような気持ちで歌っています。２番のサビは、私から皆さんへのメッセージのつもりで書きました。
参加してくれた皆さん、本当にありがとう！

Co-writing this song with my fans had truly supported my heart and kept my hopes for the future alive, during my lonely isolated days. I believe this song gives the listeners a little moment to think about how you would spend this given day, and where to stand among these days, when change is expected every minute. Wondering how you are spending this day, I'm dreaming about the day when we finally sing this song together at live shows.
We put all the words we received from the viewers into the lyric, so this song really bonds us together although we actually don't know each other's faces. In other words, I feel like I'm representing my fans every time I sing this song. The chorus part in the second verse is a message from me to you. Thank you to all of you who played a part in this project!

[ 楽曲のDL/ストリーミングはこちら | Stream and Download my songs!! ]
24 HOURS :https://big-up.style/TlXomKU1o4
IN THIS BLANKET : https://linkco.re/y4z3tt5V
TORCH : https://linkco.re/vYHNVsFs
LOVE : https://linkco.re/0Ftr3g1N
　　　
[ グッズ | MY MERCH ]
24 HoursロンT 数量限定で発売！
https://muuu.com/users/f613d3ed8e46476e

[ 竹渕慶 | Kei Takebuchi ] FOLLOW ME ON]
Twitter : https://twitter.com/keibambooty
Instagram : https://www.instagram.com/keibamboo/
HP : https://keitakebuchi.com/

[ YAMO (クリエイティブパートナー/Creative Partner）]
今回も映像と音楽を手がけました。リモートで撮影された数多の合唱パートと、慶ちゃんを、物理的に同じ空間でコラボさせるためにプロジェクターで皆さんを映し出しました。こんな時代でも、「本当につながっているということ」を作品で表現できたことを、非常に誇らしく喜ばしく思います！
I produced the music and the video part as always. To make the collaboration between Kei and everyone's chorus part not only an ideological but a physical one, I used the projector to illuminate Kei with everyone. I am proud and happy that the feeling of being connected and bonded has been illustrated prominently through this craft, even through a physically isolated period.

映像編集ソフト：Davinci Resolve 16 Studio (Blackmagic Design社 商品提供)

Twitter : https://twitter.com/YAMO_wbsb
Instagram : https://www.instagram.com/yamo_wabisabi/

[ その他オススメのビデオ | Other Recommended Videos ]
Torch : https://youtu.be/y9ltZL5osBI
In This Blanket : https://youtu.be/s9MXv28fJsY
ASMR : https://youtu.be/rJe4ebh2AFc
「天気の子」Mash Up : https://youtu.be/ZcT2UOmcwIo

[ オンラインコミュニティーPATREON ]
https://www.patreon.com/KeiTakebuchiYAMO

お仕事のご依頼、お問い合わせ等は下記、UUUM株式会社までお願いいたします
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✨ 新書推薦時間來囉！ ✨
📚今天要介紹的書叫做——
《漫畫歐文字體の世界：零基礎秒懂，像認識新朋友一樣，入門25種經典字體》

這是一本讓「歐文字體」變身成 25 個迷人角色的有趣書籍！
它具有「四格漫畫 ╳ 字體解說專欄 ╳ 圖解年表」的特色，
可以讓讀者輕鬆吸收各種字體知識！
歡迎大家來和字體做朋友，讓自己輕鬆入門、升級美感！

有興趣的人趕快來這邊看看呦 👉 https://www.books.com.tw/products/0010864883?loc=P_0005_001

＃原點出版 ＃漫畫歐文字體の世界

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✔︎ 成為七七會員（幫助我們繼續日更，並享有會員專屬福利）：https://bit.ly/3eYdLKp
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＃BBC ＃蛋炒飯 ＃飲食文化挪用
各節重點：
00:00 前導
01:35 大家都在罵什麼？
04:00 蛋炒飯的歷史
05:17 BBC 為什麼不洗米？
06:24 BBC 到底是在煮飯，還是煮義大利麵？
08:05「飲食文化挪用」是什麼？
09:39 我們的觀點
11:13 提問
11:33 結尾

【 製作團隊 】

｜企劃：蛋糕說話時屑屑請閉嘴
｜腳本：蛋糕說話時屑屑請閉嘴
｜編輯：羊羊、土龍
｜剪輯後製：絲繡
｜剪輯助理：歆雅
｜演出：志祺

——

【 本集參考資料 】

→《BBC美食頻道》的蛋炒飯教學，算是「文化挪用」嗎？：https://bit.ly/319MPn0
→【文化探究】美味蛋炒飯：https://bit.ly/3aILmXK
→文化挪用 還是文化冒犯？：https://bit.ly/3ghodwO
→文化挪用不當 踩種族歧視紅線：https://bit.ly/34ftBhG
→台中市沙鹿區公所，沙鹿縣誌：https://bit.ly/3giv09r
→卓嘉健. (2011). 印度中菜統戰記 — — 印式中餐的食物政治 (A Story of Ideological War in Indian Chinese Food: Its Food Politics)
→唐魯孫. (2002).〈蛋話〉, 《酸甜苦辣鹹》. 台北：大地出版社
→逯耀東. (1987). 《只剩下蛋炒飯》. 台北：圓神
→葉多涵／別再挪用「文化挪用」了——為什麼我們不該再用這個詞？：https://bit.ly/2CIMxKt
→BBC Food 蛋炒飯之亂-別人炒飯你喊什麼燒？：https://bit.ly/2DZNSxb
→C Is for Colonialism’s Effect on How & What We Eat：https://f52.co/2YcxlNd
→Cultural appropriation: Why is food such a sensitive subject?：https://bbc.in/3aDIZWr
→Cultural appropriation: Why is food such a sensitive subject?：https://bbc.in/31bmEfx
→Gordon Ramsay's new 'authentic Asian' restaurant kicks off cultural appropriation dispute：https://cnn.it/2Eck7t1
→Inside the Preview of Gordon Ramsay’s ‘Vibrant Asian Eating House’：https://bit.ly/3iVKL81
→Pan, M. (2007). 從他鄉到故鄉：印度加爾各答Tangra客家社群的變遷與存續：https://bit.ly/34cKc5P
→Sankar, A. (2017). Creation of Indian–Chinese cuisine: Chinese food in an Indian city. Journal of Ethnic Foods, 4(4), 268-273.：https://bit.ly/3heMZiy
→So you think you know fried rice?Rice, eggs, and what else? Chinese fried rice: a history and deconstruction by Simmer.：https://bit.ly/2Q6mwYD
→The Fine Line Between Culinary Appropriation and Appreciation：https://bit.ly/3g7Htgk
→Who Owns A Recipe? Race, Food And The Debate Over Cultural Appropriation：https://bit.ly/329iRib

＼每週７天，每天７點，每次７分鐘，和我們一起了解更多有趣的生活議題吧！／

🥁七七仔們如果想寄東西關懷七七團隊與志祺，傳送門如下：
106台北市大安區羅斯福路二段111號8樓

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