Abstract
In the article, Experiment - My Film History by Taiwanese artist, Kao Chung-Li, Li stated that “animation” served as cameraless, hand-made, and physically strong “images” that remind us of the importance of "how images are produced". They reproduce and transform Taiwan’s image history. Like “cameraless film” or “drawnon-film animation”, Kao reassembles ready-made objects, old photographic film, projectors, and other such things through the “physical properties” of animation,
serving as a component of his own resistance to Western experimental films. This paper discusses the image production conditions of Kao’s “cameraless film” works, discussing the bodies, images, and physical properties in animation. Then, the physical performance, news narrative, and theater properties of living newspapers are compared to the narrative aesthetics in Taiwanese report dramas. With the aesthetic dialect of two kinds of moving images, this paper raises the image production possibilities of Taiwanese experimental images.
serving as a component of his own resistance to Western experimental films. This paper discusses the image production conditions of Kao’s “cameraless film” works, discussing the bodies, images, and physical properties in animation. Then, the physical performance, news narrative, and theater properties of living newspapers are compared to the narrative aesthetics in Taiwanese report dramas. With the aesthetic dialect of two kinds of moving images, this paper raises the image production possibilities of Taiwanese experimental images.
| Original language | English |
|---|---|
| Title of host publication | The European Conference on Media, Communication & Film 2017 Official Conference Proceedings |
| Pages | 1-7 |
| Number of pages | 7 |
| State | Published - 2017 |
Keywords
- cameraless film
- Drawn-on-film animation
- Taiwanese experimental images