Moment
The Distant Mountains 山外山
动态影像 Film(09:05') - Super 8mm & DV; Zoom H5 Sound-recorder, 2021-ongoing
「山外山」讲述了羞耻、爱和罪恶之间的交织和冲突。祖父在政治斗争后陷于抑郁自杀，姑妈难以承受伤痛，出走家乡，因注射导致肝功能衰竭和艾滋。她的再次出现引发了家人对女性疾病的歧视和态度变化，也使我开始反思三代人之间的关系，以及家族历史中政治和私人的世代矛盾与创伤。影片将艾滋病隐喻在性别属性、后记忆和代际创伤下交织在一起，以档案、故乡、记忆和文字的组合，以脆弱敏感的和谐面呈现记忆和情感，延伸到污名化和社会偏见，将中国历史背景与家庭、政治和个人生存之间的因果关系纳入其中，蕴藏了内部情感和日常生活的联系。在个人身份与历史之间的对峙下，以具体的情感和实践入手宏大的集体叙事和土地身份的联结，以及质问在女性身份下罪恶与纯洁的对立存在。
“后记忆”描述了“后一代”与前人的个人、集体和文化创伤之间的关系——他们仅通过他们成长的故事、图像和行为来“记住”他们的经历。这些经历被深刻而多层次地传递给他们，似乎它们本身就构成了记忆。
The Distant Mountains narrates a strife grown between shame, love, and sin. My aunt's AIDS caused sensitive changes in my family, which made me reflect on the trauma connected with the political struggles and contradictions in family history. This film is intertwined AIDS metaphors under gender attributes, Postmemory and generational trauma, presenting memory and emotion poetically in fragile and sensitive harmony with the combination of archives, hometown, memory and words, which extends to stigma and social prejudice, and brings into the cause and effect between Chinese history background with family, political and individual survival. Faced with the confrontation between individual identity and collective history, she starts with the grand collective narrative and land nostalgia by specific emotion and practice, and questions the existence of the opposition between sin and purity within the female identity.
https://postmemory.net/generation-of-postmemory/
“Postmemory” describes the relationship that the “generation after” bears to the personal, collective, and cultural trauma of those who came before-to experiences they “remember” only by means of the stories, images, and behaviors among which they grew up.
静帧截图 Screenshots