最近在为数不多的闲暇中，一点一点磨了一段承袭自戈达尔的论文电影拼凑成品，把我的信手涂鸦、写的无聊句子、拍的碎片化视频，还有搜集的素材一股脑塞了进去。属于是对表达方式东施效颦的一次拙劣探索。我很愿意以一个没文化的废物姿态，去保留些微弱的感受。绵羊教育磨锐气，宏大叙事杀个人 。别沉默，就是这样。

最近在为数不多的闲暇中，一点一点磨了一段承袭自戈达尔的论文电影拼凑成品，把我的信手涂鸦、写的无聊句子、拍的碎片化视频，还有搜集的素材一股脑塞了进去。属于是对表达方式东施效颦的一次拙劣探索。我很愿意以一个没文化的废物姿态，去保留些微弱的感受。绵羊教育磨锐气，宏大叙事杀个人 。别沉默，就是这样。

Arte、ABC和Smithsonian Channel联合制作，Michael O'Neill执导。 　　在亚马逊的一个偏远地区，住着Piraha部落的最后300名成员。他们拥有世界上最奇怪的语言之一:他们对颜色和数字没有文字，这使它成为语言学家中最热门的辩论之一。 　　1970年代，一名年轻有抱负的基督教传教士丹尼尔·埃弗雷特，一个留着红胡子的高大的美国人，为了拯救土著的灵魂，去了亚马逊雨林。30年来,他试图理解附近难辨认的亚马孙河流域的语言，作为一个语言学家,他将挑战的是诺姆·乔姆斯基的普遍语法理论。埃弗里特最具争议性的观点是，“皮拉语”缺乏“递归”——即构建无限数量句子的能力。

Arte、ABC和Smithsonian Channel联合制作，Michael O'Neill执导。 　　在亚马逊的一个偏远地区，住着Piraha部落的最后300名成员。他们拥有世界上最奇怪的语言之一:他们对颜色和数字没有文字，这使它成为语言学家中最热门的辩论之一。 　　1970年代，一名年轻有抱负的基督教传教士丹尼尔·埃弗雷特，一个留着红胡子的高大的美国人，为了拯救土著的灵魂，去了亚马逊雨林。30年来,他试图理解附近难辨认的亚马孙河流域的语言，作为一个语言学家,他将挑战的是诺姆·乔姆斯基的普遍语法理论。埃弗里特最具争议性的观点是，“皮拉语”缺乏“递归”——即构建无限数量句子的能力。

The closing titles say The Two Sights was “collected” on various islands of the Outer Hebrides from 2017–19, but what does the film gather? There are the images, captured on 16mm, which survey all this ravishing landscape contains, taking in its rocky cliffs, beaches and plains, alighting on its flora and fauna and the houses and ships sprinkled over it, picking out currents, reflections and shifts in light. Then there are the sounds, recorded with the mic visible in the first shots, keening birds, the roaring wind, the crashing, gurgling, trickling of the water. In voiceover, a whole anthology of tales can be heard, narrated in both English and Gaelic, stories of dog skeletons, drowned villages, and family members passing away, although songs, silence and the shipping forecast are just as at home there. But like any great collection, it’s not about the individual elements, but how they overlap, about how the crow hanging on barbed wire conjures up another story never told, about how the ripples seem to reverberate along with the woman’s harmonies, about how each anecdote floats over the rushing air. Sight by eye, sight by ear, two sights that ripple and flow together.

The closing titles say The Two Sights was “collected” on various islands of the Outer Hebrides from 2017–19, but what does the film gather? There are the images, captured on 16mm, which survey all this ravishing landscape contains, taking in its rocky cliffs, beaches and plains, alighting on its flora and fauna and the houses and ships sprinkled over it, picking out currents, reflections and shifts in light. Then there are the sounds, recorded with the mic visible in the first shots, keening birds, the roaring wind, the crashing, gurgling, trickling of the water. In voiceover, a whole anthology of tales can be heard, narrated in both English and Gaelic, stories of dog skeletons, drowned villages, and family members passing away, although songs, silence and the shipping forecast are just as at home there. But like any great collection, it’s not about the individual elements, but how they overlap, about how the crow hanging on barbed wire conjures up another story never told, about how the ripples seem to reverberate along with the woman’s harmonies, about how each anecdote floats over the rushing air. Sight by eye, sight by ear, two sights that ripple and flow together.

The actions taken out by the bullies in the film were inspired by the real events that took place at a private boys school in Sydney.

The actions taken out by the bullies in the film were inspired by the real events that took place at a private boys school in Sydney.

栋笃笑《拾下拾下》于1999年8月10日在香港伊利沙伯体育馆首演，是黄子华栋笃笑系列的第七辑。

栋笃笑《拾下拾下》于1999年8月10日在香港伊利沙伯体育馆首演，是黄子华栋笃笑系列的第七辑。