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瘋狂秘錄:瑪麗恩之真相全揭計畫

Recorder: The Marion Stokes Project
導演

麥特・沃夫 Matt WOLF

資訊
保6
亞洲首映

美國 USA | 2019 | DCP | Colour | 88min

放映場次

2019-08-29 (四) 15:30 SBC星橋國際影城 20廳

2019-08-24 (六) 11:30 SBC星橋國際影城 7廳

影片介紹

超過七萬卷的電視節目錄影帶,長達 30 年的秘密錄製計畫,而今終於面世。瑪麗恩・史托克—— 世紀最狂檔案專業魔人,身為黑人女性知識分子,她走過冷戰時代,見證科技發展與新聞媒體生態轉型,細鑽如何「拆組」大眾意識形態、「創造」新興輿論的成形。她日復一日錄製電視節目,最多同時啟動 8 台錄影機,自 1975 年持續到 2012 年底嚥下最後一口氣為止。歷史從未離開,瑪麗恩將留予我們及下一代什麼解答?

Marion Stokes secretly recorded television channels 24 hours a day for 30 years from 1975 until her death in 2012. For Marion, taping was a form of activism to seek the truth, believing that a comprehensive archive of the media would be invaluable for future generations. Her visionary and maddening project nearly tore her family apart, but now her 70,000 VHS tapes are being digitized and they’ll be searchable online.

導演
麥特・沃夫 Matt WOLF
導演介紹

麥特・沃夫,1982 年出生,紐約導演兼製片。其執導的紀錄作品帶有強烈批判性,關注前衛、次文化等議題,以《野性的結合:亞瑟・魯賽爾傳》、《少年》等為人所知。作品橫跨全球影展、電視,亦曾與《紐約時報》、惠特尼美術館等不同領域合作。

Matt WOLF is a filmmaker,documentarian, and producer, as well as a Guggenheim fellow. His notable films include Wild Combination: a Portrait of Arthur Russell (2008), Teenage (2014), and Bayard & Me (2017). His subjects include youth culture, artists, archives, music, and queer history.

2019 翠貝卡影展 Tribeca FF
2019 AFI 紀錄片影展 AFI Docs FF
2019 Hot Docs 加拿大紀錄片影展 Hot Docs Canadian IDF

導演的話

每當我開始拍攝一部電影時,都會問自己一些問題:有何關係?為什麼選擇現在?人們有時候會問我,瑪麗恩是否只是一個因失控囤物癖導致家庭支離破許的病態歷史學家。我的答案是,不——她是一個毫不妥協的運動家;具有超越當時對媒體與科技的卓越洞察力。她的成果對現今時代相當重要。

當我開始製作這部電影時,事實與責任是至關重要。當我完成這部片時,我們正處於所謂的「假新聞」時代。此時,真相比以往還要更受衝擊。《紐約時報》曾刊登一則全版廣告,上面寫著:「真相難尋,知道真相比以往還要來得更重要。」這正是瑪麗恩致力貢獻她一生的原因。她認知到電視是一種具有說服力且普遍存在的媒介,可以被操縱並塑造公眾輿論。她的故事應能給予他人靈感,並以非一般且具創意的方式,為真理而戰。

當我讀到瑪麗恩收藏七萬卷錄像帶的那一刻,我腦中浮現了一個模糊片段的無止盡拚貼——從悲劇到勝利,從輝煌歷史到日常生活,展現我們時代質地的影像。作為一名電影工作者,我向來都以運用資料庫存影片作非一般與電影手法的創作為名。我喜歡透過在意想不到的內容裡尋找影像和故事,讓舊事物煥然一新。無論是經典的凱莉安.康威在CNN新聞台上為鮑勃.多爾辯護,抑或是呈現911新聞如何在各種網絡上竄發的四分割畫面,我希望觀者能以全新的方式來看待熟悉的事物。

本片故事也充滿了謎。瑪麗恩是一個既神秘又複雜的人,我們親近她的其中一個方式,便是藉由風格化的再創作來一窺她的個人世界。這些電影片段來自瑪麗恩的豪華房車或是她公寓裡的秘密錄像站;追蹤著電視與電腦科技的演變如螢幕上播放的老舊片段。我第一次與會瑪麗恩的兒子邁克.梅爾特斯時,他是一個很聰明且擁有洞察力的人,當時他也因為與母親彼此之間的複雜關係而情緒激動。透過這部電影,邁克徹底地反思了瑪麗恩的使命、對於她的自私所感到的憤怒與沮喪,以及對她的成就而感到的驕傲。本片也是一部令人意想不到而且令人動容的家庭故事。

除了錄製電視節目之外,瑪麗恩也是一個瘋狂收藏家及蘋果電腦的投資客。她非常崇拜史提夫.喬布斯,依邁克所說的:「史提夫是個好漢子。」如同喬布斯,瑪麗恩性格不溫暖,做事不含糊,她將自己的工作與想法置於個人關係之上。她的想法與眾不同而人們時常無法理解她的思維。但她為了追求一個會費盡她一生的計畫做了巨大的犠牲。如今,我們有了機會去運用她的計畫成果。

Whenever I start a film I ask the questions, “So What? Why Now”? People sometimes ask me if Marion was just a pathological historian whose uncontrollable hoarding tore her family apart. My answer is no—she was an uncompromising activist, whose insight into media and technology was decades ahead of her time. Her work is incredibly relevant today.


When I started this film, facts and accountability were important. Now, as I’m completing it, we are living in the era of so-called “fake news.” Now more than ever, the truth is under attack. The New York Times published a full-page advertisement that said, “The truth is hard—to find, to know, and the truth is more important than ever.” This is what Marion committed her life to. She recognized that television is a persuasive and pervasive medium, and that it can be manipulated to shape public opinion. Her story should inspire others to fight for the truth in unusual and creative ways.


The moment I read about Marion’s 70,000 tapes I imagined an endless collage of fuzzy clips—from tragic and triumphant, to historic and mundane—images that show the texture of our times. As a filmmaker, I’m known for using archival footage in unconventional and cinematic ways. I like to make old things feel new by using found images and stories in unexpected contexts. Whether it’s vintage Kellyanne Conway defending Bob Dole on CNN or a four-screen montage that shows how the news of 9/11 broke on various networks in real time, I want viewers to see familiar things in a new way.


This story is also a mystery. Marion’s an enigmatic and complicated character, and one of the ways we got closer to her is with stylized recreations that peer into her private world. These cinematic sequences from Marion’s limousine or her secretive recording stations in her apartment trace the evolution of television and computer technology as vintage footage plays on screens. The first time I met Marion’s son Michael Metelits, he was intelligent, insightful, and he was also overcome with emotion about his complicated relationship with his mother. Through the film, Michael lucidly reflects on Marion’s mission, his anger and frustration about her selfishness, and his pride in her accomplishments. It’s a startling and emotionally moving family story.


In addition to taping television, Marion was an avid collector and investor in Apple Computer. She idolized Steve Jobs and, according to Michael, “Steve was the good son.” Like Jobs, Marion wasn’t warm and fuzzy and she put her work and her ideas above her personal relationships. She thought differently and people didn’t always get it. But she made profound sacrifices to pursue a project that she hoped would take on a life beyond her own. And now we have the opportunity to use it.

【電影預告】

 

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