Talks on Creative Journeys
Date: 7th August, 2022
Venue: Jao Tsung-I Academy Resource Centre
@Camp 2022
Mentor: Natalia Chan (poet and cultural critic)
Speaker Natalie Chan spoke on viral Korean dramas of various genres in recent years. She started from screenwriter Jung Sook’s viewpoint and explained how Korean dramas tell their stories. Rom-coms, legal dramas, or ethical dramas never simply throw the dialogue onto the screen but combine visual images, characters, and events of the moments, which the audience can appreciate as the comprehensive structure of a story.
The second part is about how to tell a good story, which involves decisive elements such as image narrative, plot twists, dialogs and memorable lines, themes and issues, etc. Chan drew examples from the daily lives rhythm in My Liberation Notes, the boy’s love scenes created because of crossdressing from female to male in Love in the Moonlight, plot hints and twists in Monster, and the disappointing ending in The Penthouse: war in life.
Chan also mentioned three types of time in a film or TV series: the time in the story; the time when the story is shown; and the time of the audience’s impression. The manipulations of such times depend on the audience and the medium through which it is shown. We often see the leap of time in a film or TV series. The screen time of fifteen minutes could be telling the events of a whole year. It can also be as slow as real-time, which invites the audience to experience the fatiguing and suffocating repetitive life and expresses the theme that the main character wishes to change her life.
創作大講堂
日期：2022年8月7日
地點：饒宗頤文化館資源中心
@創作營 2022
分享：洛楓（詩人、文化評論人）
從大熱了好幾年，並已漸漸發展出不同類型片的韓劇角度，嘉賓洛楓在講堂的第一部份，以韓國編劇鄭淑的觀點作為引子，解構韓劇如何講故事。無論是愛情、律政、還是倫理劇等等，都並非單純把對白拋到螢幕當中，更重要的是要與當下狀況的影像、人物和事件融合，使得最終呈現在觀眾眼前的，是一個綜合的故事結構。
第二部份——到底要如何講出一個好故事？當中的影像敘事、情節與扭橋、對白與金句、主題與議題等都是取決的要素。洛楓提出了許多例子，譬如《我的出走日記》中的日常節奏，《雲畫的月光》那些女扮男裝造就的男男情色鏡位，《怪物》如何埋伏線和扭橋，《The Penthouse: war in life》的反駁與爛尾等等。
另外，洛楓更提及了影視作品當中的三種時間：故事敘事所展示的時間、放映的時間、觀眾印象感覺延續的時間。而時間的掌控，取決於作品的受眾和放映媒介。在螢幕內，很多時候我們都會看到真實時間的跳躍，譬如螢幕時間只有15分鐘，講的卻可以是橫跨1年當中發生的事件。以《我的出走日記》作為其中一個例子，剔除跳躍的時間，這部作品開始的節奏就非常緩慢：仔細拍攝主角們上班、吃飯的日常。這個做法，令螢幕時間幾乎等同於真實事件，彷彿要觀眾也一起感受那種令人厭倦、疲倦近乎窒息的重複生活，帶出主角希望改變人生的命題。