“以身体语言和镜头语言相结合的方式，对人的各种身份的存在依据，进行了深度探索的哲学影像”

“以身体语言和镜头语言相结合的方式，对人的各种身份的存在依据，进行了深度探索的哲学影像”

一部刮划胶片的先锋电影。 　　An etched, hand-painted 35mm digitized film comprised of collaged words, images, patterns and glitches shot from over 500 movie title cards to a musical soundtrack. West describes the new film as “a psychic montage of my inner-history of film in alphabetical order”. 　　The film is structured by a computer alphabetical sorting process, beginning with numbered films and moving through the list of movies in alphabetical order. The images were shot using a flashlight creating the effect of lighting the walls of a completely dark space. It is comprised of shots of individual movie titles and isolated words from the titles; these create a rhythmic word and image viewing game for the viewer, as they decipher recognisable fragments. Shot on analog 35mm film, the film celluloid of 8,000 feet of optical prints were inscribed with etched patterns, outlines, tracings, punctures and marks emphasizing the materiality of the film – using a host of unconventional tools such as forks, vegetable peelers, shards of mirror and hole punchers. 　　This work is part of a wider project considering the idea of the “remembered” film and how fiction weaves itself into our lives and memories – and how our viewing experience, and thus memories, has changed with the digital and Internet revolutions.

一部刮划胶片的先锋电影。 　　An etched, hand-painted 35mm digitized film comprised of collaged words, images, patterns and glitches shot from over 500 movie title cards to a musical soundtrack. West describes the new film as “a psychic montage of my inner-history of film in alphabetical order”. 　　The film is structured by a computer alphabetical sorting process, beginning with numbered films and moving through the list of movies in alphabetical order. The images were shot using a flashlight creating the effect of lighting the walls of a completely dark space. It is comprised of shots of individual movie titles and isolated words from the titles; these create a rhythmic word and image viewing game for the viewer, as they decipher recognisable fragments. Shot on analog 35mm film, the film celluloid of 8,000 feet of optical prints were inscribed with etched patterns, outlines, tracings, punctures and marks emphasizing the materiality of the film – using a host of unconventional tools such as forks, vegetable peelers, shards of mirror and hole punchers. 　　This work is part of a wider project considering the idea of the “remembered” film and how fiction weaves itself into our lives and memories – and how our viewing experience, and thus memories, has changed with the digital and Internet revolutions.

作為4月清新上演的新劇製作，TBS已定由KAT-TUN中田中聖擔任《特急田中3號》（播放時段未定）的主演。此部青春偶像劇的主人公所在大學位於東京，在校學生成績偏差值小，片中講述這位愛說大話的青年與鐵道御宅族間發生的一系列故事。描繪了一群擁有鐵道知識卻一無是處的大學生們為愛情為未來奮鬥的過程。腳本由《浮華世家》的橋本裕志擔當，導演由《HOME DRAMA》（04），《詐欺獵人》（06）等劇的平野俊一，以及《木更津貓眼》（02）系列的金子文紀擔當。製片人由親自編製過《木更津-》《龍與虎》（05，以上均為TBS系）的磯山晶擔任。製作方表示之所以想為田中量身打造一部新劇，是因為被其在《MY BOSS MY HERO》中充滿活力的演技所感染。 　　田中演繹的主人公名為田中一郎，是一個毫無女人緣又自戀的人。一聽說能夠有機會與女生搭訕，抵不住誘惑的主人公加入了所謂的“鐵道研究會”。於是與奇怪的“戀鐵癖”二人組臭味相投，鹵莽的向偶遇的美女職員三人組發起了攻擊… 　　製作人磯山說：“我們不光是希望讓大家了解那些對鐵道瘋狂的人們，更希望呈現給大家一份因執著而閃光的人生。那些深愛著鐵道的人，他們堅信即便是目的地一樣，各站停車駐足享受的旅者永遠比坐上特快匆匆離去的過客快樂許多。此劇將要刻畫的正是這群御宅族們喜憂參半的日常生活。”

作為4月清新上演的新劇製作，TBS已定由KAT-TUN中田中聖擔任《特急田中3號》（播放時段未定）的主演。此部青春偶像劇的主人公所在大學位於東京，在校學生成績偏差值小，片中講述這位愛說大話的青年與鐵道御宅族間發生的一系列故事。描繪了一群擁有鐵道知識卻一無是處的大學生們為愛情為未來奮鬥的過程。腳本由《浮華世家》的橋本裕志擔當，導演由《HOME DRAMA》（04），《詐欺獵人》（06）等劇的平野俊一，以及《木更津貓眼》（02）系列的金子文紀擔當。製片人由親自編製過《木更津-》《龍與虎》（05，以上均為TBS系）的磯山晶擔任。製作方表示之所以想為田中量身打造一部新劇，是因為被其在《MY BOSS MY HERO》中充滿活力的演技所感染。 　　田中演繹的主人公名為田中一郎，是一個毫無女人緣又自戀的人。一聽說能夠有機會與女生搭訕，抵不住誘惑的主人公加入了所謂的“鐵道研究會”。於是與奇怪的“戀鐵癖”二人組臭味相投，鹵莽的向偶遇的美女職員三人組發起了攻擊… 　　製作人磯山說：“我們不光是希望讓大家了解那些對鐵道瘋狂的人們，更希望呈現給大家一份因執著而閃光的人生。那些深愛著鐵道的人，他們堅信即便是目的地一樣，各站停車駐足享受的旅者永遠比坐上特快匆匆離去的過客快樂許多。此劇將要刻畫的正是這群御宅族們喜憂參半的日常生活。”