2020年12月25日 星期五

Seven secrets you need to know about Your name Engraved Herein, Taiwan’s Highest-Grossing LGBTQ Film of All Time


Since its release in September 2020, this blockbuster so far has already accumulated NT$100M (around US$3.5M) on the island alonean enormous number not just for an LGBTQ film, but for every Taiwanese film. With its premiere on Netflix on December 23, this film, Your name Engraved Herein, can finally be watched by viewers all over the world. However, based on the director’s true story happening in Taiwan in 1987 and shot in a lyrical and poetic way, this film has many cultural nuances that are only familiar to local Taiwanese people and many details that you might misinterpret the whole storyline if you do not pay keen attention to. We think it would be a pity if people can’t fully enjoy this film because of cultural boundaries, so here we would like to provide seven interesting facts about this movie that you might not have known before.




What are Birdy’s true feelings?  Does Birdy actually love Jia-Han or Ban-Ban?


The film is about the love story of Jia-Han (CHANG Jia-Han or simply A-Han, played by Edward CHEN) and Birdy (WANG Bo-De, played by TSENG Jing-Hwa). However, since the whole movie is shot from Jia-Han’s perspective, it is quite common to ignore Birdy's feelings and only realize half of the story. Many people raise questions such as "Did Birdy love Jia-Han or Ban-Ban?", "Why did Birdy do this?" after seeing the film for the first time. Nevertheless, the true story is that Birdy loved Jia-Han as much as, if not more than, Jia-Han loved Birdy. However, the cues are so implicitly hidden in this film that people may not notice these nuances, especially Birdy's acting and facial expressions.


Searching for the evidence of Birdy's love can be addictively intriguing, which is also the reason why many fans rewatch the film again and again. However, it might be not easy for foreigners to decode Birdy’s real thoughts because of cultural and language barriers. So here we would like to explain how Birdy really feels according to cues in the movie and help you uncover the hidden part of the story.


In the beginning of this movie, Birdy tries to approach Jia-Han by funny excuses such as borrowing soap and sharing walnuts in Jia-Han’s bed. He is simply attracted to Jia-Han and falls in love, just like Jia-Han can not stop watching him. They are together and have a wonderful time that year.


However, Birdy soon changes his attitude and turns cold to Jia-Han after he meets Ban-Ban, leaving Jia-Han in disappointment. Worse still, Birdy does really mean things to upset Jia-Han. He suggests Jia-Han to get a girlfriend in the church, acts intimately with Ban-Ban in front of Jia-Han at the night market, and even passes Jia-Han's secret love message "WANAN" to Ban-Ban with a balloon in public. Seeing how Birdy’s behavior leaves Jia-Han so heart-broken and in despair, many people might start to wonder if Birdy is actually straight.


It is not until the final part of the movie does Birdy confesses his love. It is surprising, not only to Jia-Han, but also to some viewers who think that Birdy loves Ban-Ban instead. However, many nuanced scenes in this film actually indicate that Birdy’s true love is Jia-Han. Every time Birdy tries to upset Jia-Han, there are often moments when Birdy reveals his genuine feelings of sorrow and guilt through his facial expression once he finds out that Jia-Han is not looking at him and he can stop “acting”. For example, in the church scene, Birdy at first teases Jia-Han and says that he wants Jia-Han to get a girlfriend in a careless attitude, but his expression changes suddenly after Jia-Han leaves, showing that his carelessness is merely a play-act in front of Jia-Han. There are also times, though rare, when Birdy just can not but show worry and heartbreak, even in front of Jia-Han. During their argument at Jia-Han’s home, Birdy’s eyes are filled with sadness when he questions Jia-Han “Have you gone crazy?” after Jia-Han is about to come out of the closet in front of his parents. Though never giving in with his words, Birdy’s tears at that moment reveal his true feelings, that what he really cares about was Jia-Han and that he does not want Jia-Han to be hurt because of him. Moreover, in the very same scene, in response to Jia-Han's abrupt question "I dare to say who I like, do you dare?", Birdy can only fall silent because he can neither say he loves Jia-Han out loud, nor can he tell a lie that he loves someone else.


So why does Birdy try to distance himself from Jia-Han? In this movie, Birdy witnesses several violent incidents related to being gay, like the schoolmate being bullied in the bathroom. He later even gets involved in one himself, ending up jumping off the building just because he and Jia-Han are too close. These make him realize that for him and Jia-Han, being together will lead to terrible results under the social pressure at that time. Though Birdy is not that concerned about his own safety, as he does many crazy things then, he can not bear to see Jia-Han get hurt because of him. So he makes a hard decision, distancing himself from Jia-Han and starting to date Ban-Ban, who tries so hard only to find 30 years later that “Liking boys is innate. If I had known, I wouldn't have tried so hard.” and accept the fact that Birdy might like her, but never truly loves her. Birdy’s true love has always been Jia-Han, since they met for the first time in the pool.


By the way, don’t feel bad about yourself if you can’t tell between these two boys in the first half. Many viewers also had complained about this because these two actors actually look somewhat alike, even to the eyes of a native Taiwanese. So it’s not about race. I can assure you. 





OK I get it now. But why does Birdy have to hide his true feelings?


To know the answer, we have to understand what it is like to be a gay student in Taiwan in 1987. Despite being the first country to legalize gay marriage in 2019, Taiwan was quite conservative 30 years ago. Being gay was never acceptable because people believed in reproduction as the main purpose of marriage, and many even valued only patrilineal descendants.  If anyone was considered gay, he would probably be harshly blamed by the family and fatally bullied by others.

The situation is even harsher for Jia-Han and Birdy, for they are still students in this story. During those years, for high school students, studying for the college entrance exam is the only thing considered important. Many measures are often taken to keep students concentrating on their studies, even though they are nowadays considered unreasonable. There were even military officers and dormitory masters in the school, maintaining strict discipline with corporal punishment. Romance relationships, even interactions between boys and girls, are strictly forbidden, not to mention same-sex relationships, which are totally unthinkable at that time.

Also, students are asked to choose between science studies major and social studies major so that they can focus on their exam subjects more. However, only those who majored in science studies are considered promising in their future career. This is why Jia-Han’s father was so angry at Jia-Han’s transfer from a science major to a social studies major.



Who is the pretesting guy on the footbridge?


Appearing in the film for just one minute, this guy, Chi Chia-wei, is an iconic flagbearer in Taiwan’s LGBTQ movement, and the director pays tribute to his great contribution by filming how he, a courageous gay, once faced brutal treatment by the government at that time. In an era when homosexuality was taboo, Chi Chia-wei was the first person in Taiwan to come out as gay on national television in 1986. He kept fighting for gay rights and gay marriage in his own unique way, including wearing bold costumes while protesting, as shown in the movie. Thanks to his efforts, Taiwan has finally legalized gay marriage in 2019, becoming the first country in Asia to do so.

He was selected by Time magazine as THE 100 MOST INFLUENTIAL PEOPLE OF 2020. For more of his information, you can read the article here.





What’s martial law in Taiwan and why does the whole movie start with a government announcement?


It is quite crucial to understand the historical background of Taiwan to emphasize the feelings of Jia-Han and Birdy in this movie. The island of Taiwan was under the rule of the authoritarian Kuomintang-led Government since its defeat in Mainland China in 1949, and martial law had been in effect from then until 1987, which was one of the longest impositions of martial law in human history. In the era of martial law, Taiwan was under strict government control, and human rights were often compromised. The leaders of the government (both from the Chiang family) were usually idolized, and hence there is a scene in the movie where thousands of people attend former president Chiang Ching-kuo’s funeral, including Jia-Han and Birdy.

In the latter years of the martial law era, however, things started to change. Restrictions started to loosen, and there was a movement toward a more democratic and free society. This finally led to the lift of martial law in 1987, which also marked the year when Jia-Han met Birdy. This is why the movie starts with the government announcing the lift of martial law. In those years, Taiwan's society was optimistic but also unsettling. Old ideology started to wane, and people started to question existing rules. However, new social rules had not been established yet and people—especially the youth—often felt confused and lost, which occasionally led to anger. This can be perfectly summarized by the conversation in the film: when Birdy says “I thought martial law was lifted” after their performance is stopped by the Military Officer, Jia-Han responds “Do you think the world has changed? Actually, it hasn't changed a bit.”





In the movie, there are many scenes on the train or on the boat. Where does the story take place and where do they travel?


The fictitious high school in the story is based on the director’s alma mater, a Christian high school in Taichung which is metropolitan in the middle part of western Taiwan. In the film, most of the events take place in Taichung, but Jia-Han and Birdy also go to Taipei city and Penghu islands, hence the many scenes about transportation.

They go to Taipei, the capital of Taiwan, as representatives of Witt High school to pay tribute to the former president, Chiang Ching-kuo, after his death. Taipei is located in northern Taiwan and is a 3-hour train ride from Taichung, so you can see both Jia-Han and Birdy fall asleep on the train.

After the argument in Jia-Han’s home, Jia-Han runs out angrily and Birdy soon follows. They end up in the Penghu Islands, which are located in the Taiwan Strait, to the west of Taiwan island. It is no surprise that Jia-Han wants to go to Penghu when he wants to go to the end of the world where he can no longer be tortured by his uncontrolled love. Penghu is a group of beautiful islands with white beaches and calming ocean waves, but it is very far from Taichung (at least for a high school student.) It takes a 4-hour train ride from Taichung to Kaohsiung Port, where they then take an overnight ferry ride to Penghu. (Now there is no overnight ferry ride to Penghu, as ferries go much faster today.)





What are the songs and what do they mean in this film? 

Songs play an important role in this movie, as unspoken love between same-sex lovers can only be communicated through songs at that time. There are three main songs in this film. The self-titled theme song, “Your Name Engraved Herein” ("刻在我心底的名字"), is written by Jia-Han in college (though he lies and says it is by a friend), showing his endless sadness after parting with Birdy. At the end of this movie, the song is sung again by young Jia-Han and Birdy, epitomizing their romantic union in Quebec and leaving us wondering what will happen next after the last line, “If I have another chance, I will surely love again.” This song is actually written in 2019 by artists in Singapore and Malaysia and has been the number one hit in many countries on Spotify. You can find its English translation here.


The other two songs, “This World” ("這個世界") by Tsai Lan-chin and "Crowded Paradise" (“擁擠的樂園”) by Bobby Chen are actually classics from that era. In this movie, “The World” is especially important because it is the love song that Birdy gives Jia-Han. On their trip to Taipei, Birdy picks this song from the music player and says it is a gift for Jia-Han. This song appears four times in the film, indicating Birdy's love, which can not be told. It is actually a very popular song among the gay community at that time, giving many hopes with its encouraging lyrics: 


Our world is not as bad as you said

So why do you still sign?

With your care and all your love

Let's add some beautiful colors to this world.




What is the seventh secret? Any surprise for me?


Yes, definitely! The secret is that, after you finish watching the film, don’t skip the end credit as Netflix always automatically does for you! There are a few scenes showing the interaction between Birdy and Jia-Han from Birdy’s perspective, which complements the main part that is all-too-much-Jia-Han. And actually, there are more “sweet scenes” in the original script, which are cut out during the editing phase. Being called unfavorably as “cecum” by the director, these clips however are later released and are dearly loved by many fans. You can find the video on the official Facebook page.





Written By Two Loyal Taiwanese Fans: A-Jing  & Yoyo (yoyo927@gmail.com).

We actually did not anticipate that we would write this much in the end lol. Maybe this movie wakes up the crazy (Birdy) and the courageous (Jia-Han) deep in our hearts. English is not our native language, but we hope this article helps you love this movie even more. : ) 



2015年8月27日 星期四

你願意花三百元看總統玉照嗎?藝術外行人的觀展窘境





幾天前,「真相•達文西」展有一名學童把一幅畫撞破了一個洞,立即引來大家關注,接著才發現那幅畫不是達文西的作品,而是另一位沒那麼有名的畫家掛名,也不知道是不是真蹟的畫作。於是網路上各種起底和護航紛紛出籠,風向大亂,真相未明。

當然,文物應該被保護,而展出真蹟、交待清楚展品資訊,也是策展的基本要求;但是更重要的問題,在於展覽的教育作用。幾十年來,已經有好幾位被引用到手軟的重要學者(從班雅明、《觀看的方式》作者約翰•伯格,到近年英國當紅的艾倫•狄波頓)提醒我們:

1) 就算是真蹟,也不一定是值得看的作品。

2) 觀眾看不懂畫作,展覽要負比較大的責任。

相機發明以前的歐洲,繪畫承擔了相當於今日照相的功能,但就像今天有傑出或重大的攝影作品,以及更多的普通照片一樣,古代繪畫也不全是重要的作品。現存許多歐洲古代的寫實畫作,包括大量的靜物畫,例如花瓶插花,原本的作用其實接近今天的「開箱炫耀文」,用來展現畫主的財富跟高貴;不少畫有食物的寫實油畫,意義其實跟今天的食記自拍差不多;而除了自畫像以外,多數的寫實肖像畫比較像是今天的總統玉照——你願意花三百元看馬英九的玉照嗎?


馬總統玉照


當然,開箱照和自拍也有拍得好的,人物照也有塗泥巴成功引起話題的,藝術史公認的傑作也有很多靜物畫和肖像畫,但關鍵在於:這些作品的「重要性」在哪裡,值得大家去看展覽?

這些學者重視的,還有「看展覽長知識」的教育性問題。他們不希望觀眾只是看些不知道重不重要、真假未明,或者古人用來炫耀權勢的作品,附庸風雅一下而已。事實上,能有知性啟發的重要作品,不多,而且如果沒有深入淺出的說明解釋,一般觀眾也很難看懂。

拿北美館「台灣製•製造台灣」特展來說,展品其實都是台灣美術史的一時之選,但展覽對於作品歷史脈絡的說明就比較薄弱,觀眾恐怕很難藉此看懂這些畫作。像是陳澄波的《夏日街景》,說明牌只說畫家作於1927年,而現場也沒有其他容易觸及的辦法,來解釋這幅畫的時代意義:在現代化的熱帶都市裡,開放的室外公共空間應該要有的樣子。


陳澄波,《夏日街景》,1927年,台北市立美術館藏。

首先,因為台灣的陽光比溫帶地區強烈,因此開放空間要有樹木遮蔭,人的活動也多在樹蔭下。如果不在樹蔭下,那就要撐傘遮陽。顯然,「烈日下要有遮蔭」是畫家要表達的重點,這個重點在今天仍有意義:太陽下騎機車等紅燈,大家都去擠電線桿的影子;汽車隔熱紙廣告在收音機重播好幾年了;行人在大太陽下也去躲騎樓,但看看台北市中華路、信義計畫區等幾個晚近規劃的街道,大多樹木稀疏,很少騎樓,也缺乏遮蔭,對行人而言,不管晴天雨天都好看不好走,浪費了公共空間。

近九十年前,陳澄波對台灣都市應該適應熱帶氣候的遠見,似乎到今天都還沒被台灣社會領略,原因之一,大概就是我們的展覽還沒把畫家的想法講清楚吧。

第二,畫裡看得比較清楚的人物,不管是右邊綁辮子的少女,或者是左邊的母女,她們都是穿著「摩登」的女性。依照傳統中國的禮教,良家婦女是不該在公共場所拋頭露面的,她們應該裹小腳在家裡忙家務,絕不該在畫中這種像公園的地方「冶遊」。但畫裡把撐洋傘、戴草帽、衣著現代的女性凸顯出來,說明在九十年前,陳澄波已經認為:傳統以男性為主的公共空間,應該開始重視並支持女性的參與。從這裡我們可以理解,台灣的公共空間開始有女性參與的意識,是從陳澄波那個時代開始萌芽的,一直延續到今天我們討論女廁空間要大於男廁、設置哺乳室等討論。

如果沒有特別解釋,一般觀眾會知道這幅畫有這些層面的意思嗎?

關於作品真假的相關討論,最常見的莫過於PTT三不五十就出現台北故宮VS北京故宮誰比較好,真蹟比較多的問卦,而且每次都不了了之。

其實,會有這種比較,也有歷史緣由。用最簡略的說法,故宮從北平開館到1949年之前,社會對故宮藏品的想法是:那是「中華民族」的文化精華,只要確定東西是清宮收藏就好了;1949年以後,兩岸在拚「誰才代表中國」,而且因為兩邊都有故宮收藏,所以社會改去關注「誰的真蹟、名家傑作比較多」,好像這樣就能代表中國的「正統」。直到對岸崛起,台灣已經失去爭正統的意義,台灣的學者才漸漸開始摸索:台北故宮的藏品,就算是真蹟傑作,So what? 對台灣的意義是什麼?

不過,今天台北故宮的展覽似乎還沒走到這一步。最近特展的《谿山行旅圖》,算是故宮最有名的畫,但除了從說明牌大概知道那是一千年前北宋范寬的真蹟,現場的簡介跟網站也著重在范寬生平、技法和畫風流傳,觀眾不易從中領略畫中的歷史脈絡和意義連結。根據目前學者的共識,這幅畫在當時比較像是文人官員在官府過勞之餘,把內心寄託在壯觀自然中的天地,就像今天嚮往山野的上班族爬不了玉山百岳,可能也會看照片過乾癮一樣。




范寬,《谿山行旅圖》,11世紀初,國立故宮博物院藏。
圖片來源|國立故宮博物院網站

今天我們有《看見台灣》,藉著自然「美麗與哀愁」的懾人畫面,讓我們反思台灣的環境問題。《谿山行旅圖》一方面表現一種美好自然的召喚;另一方面也可以提醒我們:壯麗的山林仍是今天許多人對自然的寄託,別讓自然成為只能在畫裡看見的哀愁。可惜故宮在這次展覽,除了對作品本身的鑑定、技法的介紹和對後代畫家的影響之外,展覽本身並未讓觀眾得知畫作的歷史脈絡與當代意義,使觀眾除了有「看到真蹟」的經驗之外,很難從作品中得到進一步的啟發。

放眼國外,大英博物館前幾年曾與BBC共同製作《看得到的世界史》節目,目的就是要讓大家知道博物館裡的收藏對今日社會的意義,其中有些收藏即使不是藝術傑作,但仍然有值得關注的歷史價值。台灣的博物館收藏也有精品傑作跟歷史文物,對社會的介紹卻顯得薄弱許多,大眾也很難藉由這些收藏去體會藝術、歷史對社會的積極作用。

除了約會之外,大部分想看懂藝術的觀眾,應該會希望能夠從展覽得到啟發。但或許觀眾覺得藝術太遙遠太專業,對策展單位太寬容,所以對策展品質都不太計較。因此私人策展拿名家當抬頭,對作品本身卻交待不清,讓觀眾只有模摸糊糊的感覺,交錢吹冷氣殺時間,換來可能跟藝術本身無關的經驗。公辦的藝術展覽或許有公認的真蹟和名作,但在缺乏清晰的歷史說明之下,只能霧裡看花,很難藉著看真蹟長知識,無形中增加藝術展覽與現實社會的隔閡,以及民代對故宮等公立美術館「不食煙火」的質疑。

我覺得,如果不想再看爛展覽,不想再對公家單位保存的藝術名作一知半解,最基本的問題可以是:這檔展覽可以讓觀眾長什麼知識?這知識對今天的我們有什麼意義?

這是每位觀眾可以藉著展覽的宣傳和說明,自行判斷展覽好壞的問題,只有這樣逼問,策展才可能改善,觀眾才不容易被爛展覽騙錢。當然,藝術鼓勵自由發想,我們仍然可以略過展覽說明,自由詮釋作品的各種可能。但展覽本該服務想要求知的觀眾,傳達藝術的積極意義。我們才可能因此從奇形怪狀的「文創」之外,找到藝術文化促使社會進步的作用。

參考資料:
[1] 約翰‧伯格,《觀看的方式》,吳莉君譯(台北:麥田,2005)。
[2] 艾倫‧狄波頓,《藝術的慰藉》,陳信宏譯(台北:聯經,2014),頁50-58。
[3] 邱函妮,〈陳澄波繪畫中的故鄉意識與認同〉,《台大美術史研究集刊》第33期(2012年9月),頁280-282。
[4] 石守謙,〈山水之史〉,《中國史新論:美術考古分冊》(台北:聯經,2010),頁412-419。
[5] 尼爾‧麥葛瑞格,《看得到的世界史》,劉道捷譯(台北:大是,2012)。

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