1/100《回南天》群体海报邀请展

As a continuous visual narrative, a film is undoubtedly a complete entity.The audience care a lot about its completeness, whether when viewing or commenting.Yet this time, the film Damp Season directed by Gao Ming has been “offended”given we mercilessly divided the whole film into 100 clips of equal lengthand made each of these one-minute parts an exclusive blind box to 100 designers respectively. They analyzed the one-minute clip in a common way of tackling static images on their own, recreating this continuous film into 100 paused moments.The psychological entanglement induced by the emotions of the couples in the film will trigger a “explosive continuity” in the imagination inspired by these 100 pauses.  In this way, we got 100 posters themed as “1/100 Damp Season”,which could be taken as CT profiles of this film.Cutting the continuous linear timeline triggers different imaginations with blurred boundary, where montages linked by the designer’s imagination are underlying.It turnes out that these individual segments give rise to one hundred versions of Damp Seasonwhile the collective remix a new full version in turn.Responding by recreation is, to some extent, another form of watching a movie.When individual creations, once back-to-back, suddenly turn into a collective act,in some sense, it is not merely an assembly for posters; instead, it is a collective “transliteration” of the film in graphics.

作为一种连续的影像叙事方式，一部电影无疑是个整体。人们会很在意他的完整，无论是观影还是评述。这一次，高鸣导演的剧情片《回南天》却遭遇了“冒犯”：我们无情地把全片恰分等切了一百份，以每人独有的一分钟盲盒片段另存给一百位设计师，以他们惯常的静象作业方式，分别背向透析一分钟，将这部流淌的动象长片另创为一百个暂停；而片中个体情侣的情感迷惑而诱发的心理缠绵，将在一百个暂停中想象触生“爆破式连绵”。  如此，我们得到了一百份“1/100《回南天》”的海报，对电影完成了一次 CT 级的视觉剖面。这种切断时间线性的间隙所触生出不同想象力的边界黏腻，隐存有设计师以想象承启的蒙太奇；其后果是每个个体裂变了一百部《回南天》，群体又聚现了另一部《回南天》。以创作的理解方式反馈电影，何尝不是另一种看电影。当一场背对背的个体创作突然集体转身，另一个意义上，不是一场海报的会合，这是一场平面对于电影的群体“意译”事件。