When Sympathy Hesitates: An Empathetic Understanding of Cinematic Slowness in Stray Dogs (2013)

講題:When Sympathy Hesitates: An Empathetic Understanding of Cinematic Slowness in
Stray Dogs (2013)
講者:Dr. Nick Hui-han Chen ( PhD in Film Studies, University of Birmingham)
主持人:勞維俊 (國立陽明交通大學視覺文化研究所副教授)
活動時間:113年5月9日(四) 下午2:00-5:00
線上演講連結:https://meet.google.com/itx-eccj-dtx

演講資訊:
Abstract:
With its minimalist narrative and long durational recordings of a family living on the margins of
modern society and drifting around deserted urban spaces in Taiwan, Stray Dogs (Jiaoyou, Tsai
Ming-liang, 2013) provides a productive reading of cinematic slowness and a critique of the
globalising domination of capitalism and neoliberalism in a locally and culturally specific context.
This paper will use Stray Dogs as a case study to explore how slow cinema encompasses both a
narrative that requires the audience’s sympathetic and intellectual understanding and a durational
perception of time that calls for empathy and intuition. We will look at the film’s temporal
illegibility and radical use of long takes through an analysis of Gilles Deleuze’s formulation of
‘peaks of present’ and ‘sheets of past’. Moreover, I will repurpose this Deleuzian reading, through a
study of David Martin-Jones’ idea of ‘a hesitant cinematic ethics’, as a moment of hesitation that
leads to an act of resistance – a resistance against the ongoing capitalist and neoliberal
standardisation, rationalisation and homogenisation of time’s, or more specifically duration’s,
heterogenous nature. By exploring the potential of ethical hesitation and political resistance,
underscored by slow aesthetics such as the use of long takes, this paper aims to make the case for a
specific and unique understanding of cinematic slowness as a philosophical signifier of empathy.

Speaker’s Bio:
An independent scholar, Nick Chen is awarded his PhD in Film Studies by the University of
Birmingham. He is currently working on his first monograph based on his doctoral thesis on slow
cinema. His recent journal articles can be found in Film-Philosophy and Deleuze and Guattari
Studies, both published by Edinburgh University Press.
Essential readings:

David Martin-Jones (2019). Cinema Against Doublethink: Ethical Encounters with the Lost Pasts
of World History. Routledge. Chapter 2 (pp. 63–88).
Gilles Deleuze (1985/1997). Cinema 2: The time-image. (H. Tomlinson & R. Galeta, Trans.).
University of Minnesota Press. Chapter 5 (pp. 98–125).
Stray Dogs 郊遊 (2013) Dir. Tsai Ming-liang 蔡明亮.

Recommended readings:
Bergson, Henri (1946/2007) The Creative Mind: An Introduction to Metaphysics. Translated by
Mabelle L. Andison. New York: Dover Publication. Chapter 4 (pp. 125–151).
Hui-Han Chen (2023) ‘When Sympathy Hesitates: An Empathetic Understanding of Cinematic
Slowness in Stray Dogs’, Film-Philosophy, 27 (3).
Louis Lo (2019) ‘Enduring the Long Take: Tsai Ming-liang’s Stray Dogs and the Dialectical
Image’, CLCWeb: Comparative Literature and Culture, 21 (5).
Song Hwee Lim (2014). Tsai Ming-liang and a Cinema of Slowness. University of Hawai’i Press.
Introduction (pp. 1–10).
Tiago de Luca & Nuno Barradas Jorge (Eds.) (2016). Slow Cinema. Edinburgh University Press.
Introduction (pp. 1–21).

Edward Lear and Victorian Visual Culture

[視文所演講資訊]
講題:Edward Lear and Victorian Visual Culture
講者:王沐嵐(國立臺灣大學文學院外國語文學系暨研究所 副教授)
主持人:黃桂瑩(國立陽明交通大學視覺文化研究所 副教授兼所長)
時間:113年5月10日(五)下午1:20-3:20
地點:知行樓後棟322會議室(陽明校區)

都會型社區大學的安老地方知識學

國立陽明交通大學科技與社會研究所講座活動
講 題:移動的「在地」:都會型社區大學的安老地方知識學
講 者:陳懷萱 專案助理教授 (國立臺灣大學創新領域學士學位學程)
主持人:郭文華 特聘教授 (國立陽明交通大學科技與社會研究所)
時 間:113年5月10日(五)下午1:00~3:00
地 點:國立陽明交通大學(陽明校區)知行樓2樓201教室

場所記憶:新媒體藝術展

5月5陽明日活動系列

展名: 場所記憶:新媒體藝術展
The Place of Memory and the Memory of Place: New Media Art Exhibition

展期: 4月25日~5月30日 每天09:00-17:00

地點: 知行樓一樓藝空間

策展人|陳永賢
藝術家|陳永賢 李鍵 潘勁 謝元
Artists|Yung-Hsien Chen, Kin Li, Jin Pan, Yuan Hsieh
開幕|2024.04.25(四)12:00

開幕表演 Opening Performance
新媒體音像表演 Audio – Visual Live Performance
藝術家|何恭譱 林雅暄 Artists|Kung Shan Ho, Ya Hsuan Lin

主辦|人文與社會科學院 知行藝空間
連絡人:徐先生 #65299
國立陽明交通大學 人文與社會科學院 知行藝空間

展覽內容:

《虛實迷宮》邀集 4 位新媒體藝術家展出新作,作品運用 3D 掃描、程式運算、虛擬實境、錄像、聲響及動力裝置等媒材,展覽充滿實驗精神的藝術表現。

作品特色如,陳永賢從消逝地景的角度,檢視電視巷興衰歷史和社會縮影,探索時代記憶對於非物質與文化地景的迷失。李鍵圍繞於自身經驗中對香港大帽山英軍遺址的洞察,探討主權移交後而遺留的殖民歷史與影像記憶。潘勁藉由長期對家鄉澎湖的海洋觀測與海域踏查,聚焦於黑水溝海域的沉船事件,找尋水下遺跡的幽暗歷史。謝元對於日常生活的節奏延伸,運用動力與材質間的運轉與敲擊聲響,投射出漣漪動態奇想,將無形記憶轉化為有形的光波動能。
展覽《虛實迷宮》以新媒體藝術的語言形式,重新翻攪對於記憶與場所的回返;藉由經歷種種人事物的觀察與詮釋,回應社會變遷下的場所記憶。並且,藝術家透過科技媒介,重新調度過去的場所與現在的記憶,進而在彼此激盪過程中產生新型態的對話,帶領觀者走入一座虛實迷宮,慢慢探索記憶模型和場所縫隙,召喚另一種文化記憶的當代形貌。

Crowdsourcing Platforms and Survey Experiments

We have a Research Seminar Course lecture with an invited speaker on Friday 26.
For those of you not in the seminar course but interested in joining, please follow the information below:
Speaker: Dr. Yi-Hao Su (https://politics.ntu.edu.tw/english/?p=12482)
Time & Place: April 26 (Fri) 15:30-17:20, ZhiXing Building Room 321, Yang Ming campus in Taipei City, National Yang Ming Chiao Tung University
Online option: https://meet.google.com/gsj-ydeg-jft
Format: In English
Title: Crowdsourcing Platforms and Survey Experiments
Abstract:
Web-based surveys using crowdsourcing platforms are burgeoning in the study of public opinions. This talk explores: (1) How do researchers prepare research design and collect data on these crowdsourcing platforms? (2) What are the advantages and shortcomings of conducting survey experiments with crowdsourcing tools?
This topic may be of interest to researchers studying mind and cognition, as survey experiments could also be utilized to obtain information on people’s attitudes and collective memory.
For more seminar information: https://forms.gle/bggagJWPLUT2K7W89

Lung Kong’s The Call Girls: Clashes with the censors amid a decade of “fists and pillows”

Title: Lung Kong’s The Call Girls: Clashes with the Hong Kong censors amid a
decade of “fists and pillows”

Date: 22 April 2024 (Monday)
Time: 1000-1200
Venue: Room 322, Zhi Xing Building Yang Ming Campus, NYCU
Online: http://meet.google.com/oim-hypr-kbv

Speaker: Dr. Tom Cunliffe (Lecturer in Film Studies, University College London)
Moderator: Dr. Klavier Wong (Assistant Professor, Institute of Visual Studies,
National Yang Ming Chiao Tung University)

Abstract
In December 1972, newspapers in Hong Kong reported that The Board of Film
Censors had banned Lung Kong’s latest film The Call Girls (1973). Lung’s film is
often grouped together as part of a wave of Hong Kong soft-core sex/erotic films in
the early-mid 1970s, but it also questions the illegalization and stigmatisation of sex
work. To demonstrate how Lung’s film and authorship clashed with the censors in
relation to how contemporary Hong Kong society was depicted, this talk will situate
Lung’s film within the industrial and historical context it emerged in. Within the
commercial norms that favoured sex and violence in imported and local films in the
early 1970s, the sex and violence in The Call Girls is not explicit or extreme, and far
less so than many of the locally produced Hong Kong or foreign films released in
Hong Kong around this time. It is more the way the film depicts contemporary Hong
Kong that the censors found problematic. The complex reasons for why it was banned
relates to how the censors wanted specific images of Hong Kong on-screen that did
not match up to the lived reality; the censors charged Lung’s film with smearing the
image of Hong Kong and painting a great part of it as “a sink of iniquity”. It was the
Board of Appeal that took a different approach since they argued that it was because
the film attempted social comment that it should be released. This talk will explore
the censors’ reasons for initially banning the film and also at how the ban being
overturned after appeal and the release of The Call Girls after only several cuts was

one of several key precedents that marked a shift in how cinema could represent Hong
Kong society in the 1970s.

Bio
Tom Cunliffe is a lecturer in Film Studies at University College London. His essays
have appeared in journals including Film History, Framework, Journal of Chinese
Cinemas, and Screen. He is currently working on a book about the filmmaker Lung
Kong and Hong Kong film history between the 1960s and 1970s.