以没做作业的借口“今天作业被狗吃”为灵感，一个与众不同，令人意想不到的动画故事。 　　本片为中国传媒大学艺术学部动画与数字艺术学院14级学生大三联合创作。

以没做作业的借口“今天作业被狗吃”为灵感，一个与众不同，令人意想不到的动画故事。 　　本片为中国传媒大学艺术学部动画与数字艺术学院14级学生大三联合创作。

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.

改编自同名小说，故事描述主角久喜雄司住在长野乡下，某日出差回来，妻子夕里子告诉他，家里的墓地发生了怪事。雄司从未见过的伯公久喜贞市年轻时即战死于南洋，他被刻在家族墓碑上的名字不知道何时被人给削掉了。同时，家里也接到来自当地报社的联络，报社记者表示她因为进行战死者慰灵祭的报导，从贞市死亡的所在地巴布亚纽吉内亚的当地人手里获得了贞市死前的日记。这本日记描写了贞市死前的行动，他如何和战友在当地丛林里苟延残喘，最后无奈死于澳洲军人的枪下等等。其中也提到贞市和战友一直企图诱捕当地的巨大鸟类食火鸡不可得的过程。雄司和家人阅读这本日记的过程中深刻地感受到了贞市对于「活下来」一事的执着。然而，随着这本日记进入久喜家，雄司身边也开始发生怪事，先是贞市战友的家中失火，再来是贞市弟弟亦是雄司的爷爷失踪，墓碑居然还出现了爷爷的名字，死亡日期更是记载为雄司父亲多年前车祸去世的日期…

改编自同名小说，故事描述主角久喜雄司住在长野乡下，某日出差回来，妻子夕里子告诉他，家里的墓地发生了怪事。雄司从未见过的伯公久喜贞市年轻时即战死于南洋，他被刻在家族墓碑上的名字不知道何时被人给削掉了。同时，家里也接到来自当地报社的联络，报社记者表示她因为进行战死者慰灵祭的报导，从贞市死亡的所在地巴布亚纽吉内亚的当地人手里获得了贞市死前的日记。这本日记描写了贞市死前的行动，他如何和战友在当地丛林里苟延残喘，最后无奈死于澳洲军人的枪下等等。其中也提到贞市和战友一直企图诱捕当地的巨大鸟类食火鸡不可得的过程。雄司和家人阅读这本日记的过程中深刻地感受到了贞市对于「活下来」一事的执着。然而，随着这本日记进入久喜家，雄司身边也开始发生怪事，先是贞市战友的家中失火，再来是贞市弟弟亦是雄司的爷爷失踪，墓碑居然还出现了爷爷的名字，死亡日期更是记载为雄司父亲多年前车祸去世的日期…

“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”