Chroma: A Derek Jarman Project/trailer(2020)

This project is supported by the British Council and National Culture and Arts Foundation in Taiwan through the Connections through Culture programme. 創作前期開發:英國文化協會「臺英文化交流補助計畫」、國家文化藝術基金會 Nominated for The 19th Taishin Arts Award (Season 4) In the 1980’s, prior to his death in…

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This project is supported by the British Council and National Culture and Arts Foundation in Taiwan through the Connections through Culture programme.
創作前期開發:英國文化協會「臺英文化交流補助計畫」、國家文化藝術基金會
Nominated for The 19th Taishin Arts Award (Season 4)

In the 1980’s, prior to his death in 1994, British filmmaker Derek Jarman was losing his sight and constantly suffered from AIDS-related complications. Haunted by the expected death, Jarman began to envisage an AI metahuman immune to all mortal illnesses, plus a biodiverse utopia, a brave new world for Sons of Jarman.

Following in the spiritual and creative footsteps of Jarman’s last movie, Blue, the making of Chroma: A Derek Jarman Project is attempted at re-associating colours with gay identities, personal memories and queer culture. Also, Chroma exploits the convention of the narrative of the audio theatre to re-invent the way of seeing when one gradually loses his eyesight.

Meanwhile, the way future was imagined and looked at back in the 70’s and the 80’s has now been recoded with new technology. The external conflicts of the gays versus the straights, and of the mainstream versus the marginal, too, have now become a tempest in the teacup: a newly launched war more about labelling, oppression, and contradictions among the gays.

Review

“A reconstruction of the Jarman-esque gender identification and colors as a result of the rereading of Derek Jarman’s Blue and Chroma. Also a reflection on the dilemma of post-humanity. The feverish love of technology, namely, the “Jarman hypothesis,” has probably branched out a nihilistic “Jarman derivation.” This piece takes on the form of the “audio-visual theater,” serving as a righteous pathway to triggering different sensory experiences. ” Lin Yu-shi, Taishin Arts Award

“A space that liberates the audiences from VR back into reality. Using the VR device to simulate the visual state of Derek Jarman before he went blind. The blurriness and the fogginess resemble the hallucinatory effects of certain psychedelic drugs. The boundaries that divide reality and imagination fall apart. Color temperatures of other audiences’ body heat seen through the IR sensor–all so clearly. The technology used to inspect and examine the health of the public during the pandemic becomes indescribably sensual, and, sexy.” Hsu Yao-wen, Fun Screen

80年代,英國同志電影導演賈曼因愛滋病引發的多種疾病,導致雙眼失明、肉身衰頹,在死亡陰影籠罩下,他開始揣想一個人工科技、百毒不侵的的未來人類,一個生物多樣性的烏托邦,一個賈曼之子的美麗新世界。

《色度:賈曼計畫》追尋賈曼生前最後一部電影《藍》的創作足跡,從他罹患愛滋,病毒入侵身體,走向黑暗前夕,勾勒色彩之於同志自我認同、色彩之於個人記憶,以及色彩與酷兒文化的關聯,以聲音劇場的敘事形式,指向當人逐漸失去視力之時,眼睛如何觀看?

同時,從上個世紀七、八零年代眺望、想像未來的時間向度,以科技之於色彩編碼的演化,對應二十世紀,非同志和同志、主流與邊緣的外部衝突,到二十一世紀的轉向,同志內部的標籤化、壓迫與矛盾。

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