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Comment by Zenkov 13 hours ago

[愛墾研創]糖衣與理想國：論1990年代浪漫喜劇的巔峰、脈絡與當代鄉愁

若要為 1990 年代的電影定義一種色彩，那必定是如糖果般斑斕卻不刺眼的溫潤色調。那是好萊塢浪漫喜劇（Romantic Comedy，簡稱 Rom-Com）的黃金時代。從 1989 年《當哈利碰上莎莉》點燃火種，到 1990 年《麻雀變鳳凰》創造票房神話，再到《西雅圖夜未眠》、《新娘百分百》及《愛在紐約》，這十年間，浪漫喜劇不僅是票房的保證，更成為一種全球性的文化語彙。

然而，這股熱潮並非偶然，它是鑲嵌在冷戰結束後的樂觀主義、都市中產階級崛起，以及網際網路尚未完全入侵生活前的最後一段「純真年代」裡。

一、時代的溫床：冷戰後的樂觀與中產階級的崛起

90 年代初期的美國，正處於一種罕見的集體寬慰中。隨著柏林圍牆倒塌，宏大的政治對抗退場，社會關注點轉向了個人的幸福感與內心世界。在這樣的背景下，電影不再需要負擔沈重的意識形態反思，轉而擁抱一種「只要努力、只要善良，就能獲得幸福」的普世價值。

這一時期的浪漫喜劇，核心受眾是迅速膨脹的都市中產階級。電影中的符號——不論是《愛在紐約》裡的溫馨餐館，還是《電子情書》裡充滿書香的獨立書店——都反映了當時社會對「優質生活」的想像。這種想像並非大富大貴，而是一種充滿人文氣息、人際關係緊密且物質適度的安定感。

二、明星制的最後餘暉：演員即符號

90 年代 Rom-Com 的成功，極大程度上依賴於最後一代「具有全球號召力」的浪漫典型明星。梅格·萊恩（Meg Ryan）的甜美與神經質、茱莉亞·羅勃茲（Julia Roberts）那具感染力的笑聲、休·葛蘭（Hugh Grant）的靦腆英倫氣質，以及尼可拉斯·凱吉（Nicolas Cage）在《愛在紐約》中展現的那種藍領式的誠懇。

這些演員不只是在演戲，他們本身就是一種「安全感」的符號。觀眾進戲院不是為了看令人屏息的特效，而是為了確認「這群人最終會在一起」。這種明星與類型片的深度綁定，建立了一種極其穩固的契約關係：銀幕上的愛情雖然曲折，但結局必然是圓滿的。這在充滿不確定性的現代生活中，提供了一種極其珍貴的心理代償。

三、 空間的魔幻寫實：城市作為第三主角

在 90 年代的脈絡中，城市（尤其是紐約、倫敦、西雅圖）不再僅是背景，而是具備靈魂的第三主角。

有趣的是，這時期的電影對城市的描繪呈現出一種「魔幻寫實」。以《愛在紐約》為例，它描繪的是一個充滿街坊情誼、警察與民眾如同家人的紐約；在《新娘百分百》中，倫敦的諾丁山被賦予了村莊般的恬靜與色彩。這是一種「去威脅化」的都市表現，過濾了城市的髒亂、危險與貧富懸殊，只留下適合戀愛的街道、公園與街角書店。這種空間處理，滿足了世紀末人類對「城市部落化」的渴望——在龐大的水泥森林中，我們依然能找到歸屬感。

四、敘事範式的轉換：從「階級衝突」到「自我修復」

早期的浪漫喜劇（如 30 年代的 Screwball Comedy）多半聚焦於社會階級的碰撞，而 90 年代的 Rom-Com 則更傾向於「自我的修復與認同」。

雖然《麻雀變鳳凰》仍有階級翻轉的影子，但更多作品如《愛在紐約》，核心衝突在於「價值觀的選擇」。查理在金錢（妻子所代表的物質主義）與誠信（伊芳所代表的樸實人性）之間選擇了後者。這反映了 90 年代的一種文化辯證：在資本主義高度發展後，人們開始反思「成功」的定義。這類電影給出的答案往往是回歸內心的純粹。

同時，這也是「科技入侵」前的最後掙扎。《電子情書》敏銳地捕捉到了網際網路剛萌芽時的浪漫想像——隔著螢幕的匿名傳情。那時的科技是拉近人距的工具，而非現代社交媒體帶來的集體焦慮。

五、為什麼我們現在還在看 90 年代浪漫喜劇？
進入 21 世紀後，浪漫喜劇逐漸式微，取而代之的是超級英雄電影或極端寫實的悲劇。當代觀眾似乎很難再相信《愛在紐約》那種「中樂透後平分獎金並愛上彼此」的童話。

但正因如此，90 年代的浪漫喜劇在今日成為了一種「文化避難所」。我們回味這些電影，不只是在懷念某段劇情，是在懷念那個：

1. 尚未碎片化的專注：愛情需要等待，需要寫信，需要橫跨半個美國去見一個人。
2. 對人性的樂觀假設：相信一個陌生人會信守諾言。
3. 實體世界的溫度：紙本報紙、咖啡館、唱片行、面對面的交談。

結語：永遠的陽光午後

1994 年的《愛在紐約》是這個脈絡中的一個溫暖註腳。它沒有《當哈利碰上莎莉》那樣精闢的兩性對話，卻擁有那個時代最核心的精神：對良善的盲目信任。

90 年代浪漫喜劇的歷史脈絡，本質上是一部關於「希望」的歷史。它在世界變得更加複雜、快速且冷漠之前，為人類的情感留下了一份理想化的備份。當我們今天再次打開這些電影，看到尼可拉斯·凱吉在紐約街頭露出憨厚的微笑，我們懷念的不僅是他的愛情，而是那個曾經相信「好人必有好報」的、那個閃閃發光的自己。

Comment by Zenkov on February 2, 2026 at 9:01pm

[愛墾研創·漩渦境遇]星系碰撞與傳統媒體

這話題，在電影方面，Netflix在2025年回顧了美國好萊塢制片方向轉折點的《1975》年的集體記憶。

若將「星系碰撞」與「引力紐帶」的邏輯引入對網飛推出的紀錄片/專題項目《1975》（針對好萊塢黃金時代末期與新好萊塢崛起的集體回憶）的解讀，我們可以看到一個關於「引力坍縮與重組」的絕佳人文隱喻。

（詩性漩渦：譚志國360度攝影）

在 2026 年的電影評論界，這部作品被視為對「大制片廠制度」如何應對「宇宙膨脹」的一次深刻反思：

1 1975：好萊塢的「引力坍縮」與「大爆炸」

1975年是電影史上一個極端的轉折點，它既是舊體制的碎裂，也是新引力源的誕生：

《大白鯊》（Jaws）的誕生：斯皮爾伯格在 1975 年創造了「夏季大片」的概念。這就像宇宙中一顆超新星爆發，它產生的引力如此巨大，以至於改變了此後 50 年所有商業片的軌道。

引力重組：在那之前，好萊塢像一個膨脹中逐漸稀釋的星雲；《1975》回顧了導演們（盧卡斯、科波拉、斯科塞斯）如何像「強引力核」一樣，將散亂的才華重新聚集，形成了「新好萊塢」這個緊密的星系團。

2 Netflix 作為新的「暗能量」

Netflix 制作這部《1975》本身就帶有一種諷刺的隱喻：

擴張與稀釋：Netflix 本身就是導致當今影視「虛擬世界膨脹」和「資訊稀釋」的主要推手（海量的內容輸出，算法驅動的碎片化觀看）。

尋找引力錨點：在 2025 年慶祝《紐約客》百年的同時，Netflix 回望 1975 年，實際上是在尋找一種「失落的引力」。它意識到在無限膨脹的流媒體荒漠中，觀眾渴望的是那種像 1975 年電影一樣的「文化碰撞」——那種能讓所有人同時走進電影院、產生強烈情感共鳴的「高質量質量源」。

3 2026 年的文化啟示：從「稀釋」回歸「碰撞」

站在 2026 年回看《1975》紀錄片，它帶給人文領域一個重要的警示：

算法讓星系疏離：目前的算法推薦（Netflix 的核心）本質上是在制造「宇宙膨脹」，讓每個觀眾都進入自己的孤立軌道，彼此不再有碰撞。

1975 的教訓：紀錄片展示了那個時代的電影為何有生命力——因為它們是「碰撞」的產物。制片人與導演的沖突、藝術與商業的博弈、不同社會階層在影院裡的集體呼吸。

人文詮釋：Netflix 的《1975》在告訴我們，如果電影（以及人際關系）只是隨著虛擬世界不斷膨脹、稀釋、彼此遠離，那麼文化就會進入「熱寂」狀態。我們需要人為地制造「引力」，去促成那些像 1975 年一樣的、充滿張力和火花的「近距離碰撞」。

 

總結：對於剛走過百年的《紐約客》或重溫 1975 的 Netflix 來說，它們的意義都在於：

在大規模稀釋的時代，堅持做那個「質量巨大」的星系，通過深度的內容和集體的記憶，把正在彼此遠離的人們重新拉回到同一個引力場中。

1975 年的好萊塢證明了：只有最猛烈的碰撞，才能產生照亮整個宇宙的星光。

現象級的發生，首先出現了現象本身，而有人察覺到那「罅間」；那陶瓷體（缶 ）的呼喚（虖）。

我們嘗試將宇宙學的「引力碰撞」與中國文字學、器物美學結合，精准地捕捉到了「現象級」發生的本質。我們期盼這是一個極具哲學高度的洞察。

Comment by Zenkov on January 6, 2026 at 10:40am

陳明發〈濾思場〉309

文史X文學的文化課

文史X文創的文化課

文學X文創的文化課

 

文史X文化的文學課

文史X文創的文學課

文化X文創的文學課

 

文史X文學的文創課

文史X文化的文創課

文學X文化的文創課

 

文學X文化的文史課

文學X文創的文史課

文化X文創的文史課

化學作用最大的，是那個X，
想像的空間在那裏。意義也是。

(6.1.2026 臉書)

Comment by Zenkov on December 25, 2025 at 8:28am

默默的詩·第一種散步

一個人散步真愉快
路過毒蛇脫殼的花園
路過思想的戰場
路過懷念雨聲的梧桐
路過哈哈鏡收藏家的別墅
心像太陽能下的石頭
躺著站著樣樣都行

真愉快一個人散步
每一條路都像少年
路過恩人家就到他的窗上
畫一輪月亮祝願他永遠安安靜靜
路過仇人家就敲開他的門
面對面覺得一會兒他的臉像枯萎的荷葉
散步一個人真愉快

默默（1964- ），原名朱偉國，撒嬌派詩人之一，詩作收入《後朦朧詩全集》。

Comment by Zenkov on December 20, 2025 at 8:37pm

白洲正子: 有情調的庭院，適合散步——「對於人生，比起結果，抵達終點前的道路更有魅力」，白洲正子一生都在踐行自己的信念。1998年，她與世長辭，日本人一直沒有忘記這位迷人的女性，拍攝講述她生平的紀錄片、故事片，舉辦紀念展。「武相莊」如今出現在「東京旅游官方網站」推薦景點中，可以看到他們夫婦珍藏的古董、服飾、器物、各種語言的書籍，宅邸內還有一個頗有情調的庭院，適合散步。

(本文來自澎湃新聞)

武相莊：這座傳統農舍是白洲次郎的宅邸，他是一位企業家，任職於第二次世界大戰後的日本首屆民選政府。幾乎所有日本人都知道白洲次郎是代表昭和天皇致贈麥克阿瑟將軍禮物的人物。麥克阿瑟將軍叫他將禮物放在地上，他遂而提出異議，他因此事而廣為人知。這件插曲也曾於熱門電視節目中重現。這裡是白洲次郎和身為散文家的夫人正子共同生活度過晚年的居所。此為木造住宅，可以了解郊外典型的日常起居。還能在悉心整理的庭園中散步。（Photo Credit: Buaiso）

Comment by Zenkov on September 29, 2025 at 11:51am

The Body as Canvas as Picture: Body painting and Its Implications for The Model by　Maja Tabea Jerrentrup

About the Author:　Professor (Associate) at Ajeenkya DY Patil University Ajeenkya DY Patil University of Pune, Pune, India & University of Trier, Trier, Germany.

Abstract. Body painting turns the body into a canvas. This frequently used phrase illustrates the challenge that body painting faces: It uses a three-dimensional surface and has to cope with its irregularities, but also with the model's abilities, likes, and dislikes. After giving an introduction to the art and categorising its various types and contexts, the article focuses on the European body painting scene and on the role of the model within the scene.

Although body painting can be very challenging for her – she has to expose her body and to stand still for a long time while getting transformed – models report that they enjoy the process and the result, even if they are not confident about their bodies.

A reason is that the "double staging "– becoming a three-dimensional work of art and then being staged for a photograph – remotes the body from the model and gives her the chance to see her painted body detached from herself. On the one hand, body painting closely relates to the body; on the other hand, it can help to overcome the body.

Keyword: Body Painting, Identity, Model, Participant Observation, Well-Being

1．Introduction

Bodypainting is a form of design or art that is neglected in many respects: If you are looking for articles on the subject of bodypainting, you will mostly find them in the medical section, where it is used as a tool for teaching clinical anatomy [1, 2, 3], or works that treat bodypainting along with make-up, tattoos, hairstyles, etc. Further, as it is difficult to exhibit, it also does not easily find its way into museums or galleries. Thus it seems like a marginalized kind of art. Yet, there is a very vivid scene purely devoted to bodypainting with events such as the World Bodypainting Festival, with workshops, courses, blogs, and Facebook groups. An estimation based on the experience of former world champion Peter Tronser is that alone in Europe, far more than 100 000 people have either practiced it already or a strong interest to do so.

People take on different roles in the scene, as painters, models, workshop leaders, and photographers – and most of them do so not to earn money, but as it increases their well-being.

In this article, I want to highlight the role of the model that is particularly interesting because it undergoes atransformation through both painting and photography and wants to find out why models characterise bodypainting as a psychologically beneficial activity.

Comment by Zenkov on September 28, 2025 at 10:15pm

2.Methods 

My research is based on a long-term participant observation both in the bodypainting and the photography scene (for the term "scene" see [4]). To a certain extent, both scenes are delocalized and the internet plays an integral role in connecting, discussing, and planning.

Body painters need photographers to capture their art, and photographers find an exciting subject in bodypainting. Moreover, the models, mostly amateurs, are often the same within both scenes.

I have repeatedly carried out bodypainting shoots, was a jury member at festivals, got painted myself, and assisted body painters which enables me an emic perspective. To give the models engaged in bodypainting a voice, 23 semi-structured interviews were conducted by the Australian body painter Wing Sum Diana Chan and by myself.

The sample consists of women between 18 and 38 years and two men, ages 26 and 32, mostly from Europe and Australia. The number may not be high, but, considering the very similar answers, clear tendencies can be seen. Most of the interviewees also model in other genres such as fashion or fantasy. Five of the bodypainting models are also body painters themselves.

Concerning ethical aspects, I got the impression that the interviewees themselves are interested in research—nobody attached importance to anonymity.

"I hope my interview helps other people to discover bodypainting as a source of inspiration to experience bodypainting themselves. "(Katharina)

The answers given were clustered with the help of content analysis, "a method for identifying and analysing patterns of meaning in a dataset" [5], which suits the topic as it not tied to a particular theory and serves as a useful tool to highlight the process of social construction (see [6].

Various patterns of meanings could be identified by the use of similar words and expressions. When drawing such categories, it is undeniable that – being at the same time being a participant observer [7]– there were some preconceived assumptions but also a general openness to new information. Thus, the method matches David Altheide's "ethnographic content analysis", which "consists of reflexive movement between concept development, sampling, data collection […] and interpretation. […] Although categories and 'variables' initially guide the study, others are allowed and expected to emerge throughout the study" [8]. The focus was placed on the qualitative side rather than on the quantity, as the research question is qualitative.

Comment by Zenkov on September 28, 2025 at 4:49pm

3.The Body as Canvas

An expression that almost always pops up when it comes to bodypainting is "the body as a canvas". A classical artistic touch is introduced with the term "canvas". The bodypainting scene is fighting for recognition as a "real" art form, which is also evident in expressions such as "bodypainting is an art", which was chosen as the name of a Facebook group.

The expression also means that something three-dimensional, dynamic and lively is compared to a two-dimensional, rigid material. This already points to one of the challenges that bodypainting poses. The association "blank paper "is close to the term "canvas": The body appears as a blank paper, which must be designed. However, the painting also has to be adapted not only to the model's body but also to the person and her character, e.g. how well she can endure the process.

Creativity finds its limits with regard to reality – a fact that makes invention actually relevant: the creative product has to be made, the idea has to be transformed into reality.

This is called the problem-solving ability of creativity compared to unlimited creativity that cannot relate to everyday life [9].

3.1Defining bodypainting concerning the scene

The first thing to consider is the extent to which bodypainting is a fundamentally different quality than clothing. "Dress is a basic fact of social life, and this […] is true of all human cultures that we know about: all cultures' dress 'the body in some way, be it through clothing, tattooing, cosmetics or other forms of bodypainting "[10].

Entwistle gives examples of how differently dress is understood depending on the culture or on the situation: A bikini might be enough to ensure that a woman is decently dressed on a beach, but not in the boardroom. In the broad definition of "dress," bodypainting therefore certainly falls into this category. More narrowly defined, the color applied to the body is an important criterion. Therefore, it can be concluded that bodypainting is both the process of applying paint on the skin and the result of a non-permanent painting that goes beyond typical make-up. "It is similar to tattooing in that it colors the wearer's skin, but it's very different […] in that bodypainting is intended to temporarily transform the wearer into a different person, animal, or even spirit. Tattooing, on the other hand, is generally used to mark a permanent or semipermanent status or identity onto the body "[11].

Different than make-up, bodypainting affects the entire body or more extensive parts of it. Also, it is usually not used to move the body towards an ideal of beauty. Nevertheless, the term "bodypainting "can also be used to include make-up for special occasions. The art of mehendi or henna can also be understood as a kind of bodypainting. However, it lasts a bit longer and is at its decorative peak of saturation on the day after its application [12].

Comment by Zenkov on September 27, 2025 at 7:06pm

Let us take a closer look at the canvas: In recent decades, the body has been exposed to increased social science interest. While in critical theory, the body was ridiculed as something inferior, and at the same time, desired as something forbidden or alienated, "the body seems to be increasingly staged and presented in the transition from modernity to reflective modernity. Phenomena such as bodybuilding, body shaping, body painting, body piercing, wellness and beauty, jogging and walking, but also the spread of Asian relaxation and martial arts clearly speak for increased body awareness" [13]. The body is understood as malleable, and some scholars even claim that there is an imperative to control and change it [14].

There is also an increased focus on physical aspects during leisure activities [15]. As a foundation of this article, I distance myself from dualistic categories such as mind versus body or self versus body. "The body is not viewed as an object, entity, or vessel for the self, but as an active and mutating form that permits and restricts particular modes of being-in-the-world "[16].

The body is situated in structures of power, and some of them can be shaped, infiltrated, accepted or ignored by its owner. Just as Joanne Entwistle sees the dress as both a social and personal experience [17], bodypainting may seem like something superficial at first glance. Still, for the model, it is ultimately an embodied experience.

3.2 The back, the chest, etc. While figurative paintings mostly shape the body respectively accentuate its shape, this is not necessarily the case with conceptual illustrations. Conceptual paintings sometimes only become understandable when the recipient learns the title or the subject of the painting. Bodypainting competitions are often about implementing abstract themes in an original way.

Camouflage describes a fourth type: bodies are painted in a way that they become invisible in a certain setting. This can be thought of as a funny effect, but sometimes, a message of integration is intended: camouflage paintings in nature, for example, are often meant to communicate that humans are part of their natural environment [19].

Action bodypainting describes a technique than a result preferably: The models, which are mostly naked or primed with a monochrome paint, are sprayed with color so that there are splashes on the skin. This often takes place as a performance.

These categories show different relationships of the paintings to the body and its staging. The painting in which clothes are painted on is still quite close to the body, while the other types change the appearance of the body considerably.  In monochrome and camouflage paintings, the stagings play a more integral role than in conceptual paintings. Monochrome and camouflage paintings do not unfold their effects so much on their own but require a certain pose or a corresponding location.

Comment by Zenkov on September 23, 2025 at 2:56pm

3.3 A short look at bodypainting in different cultures

An examination of bodypainting would not be appropriate if one did not briefly consider some historical aspects of bodypainting and its relevance in different cultures.

Bodypainting "has been practiced worldwide as evidence from Paleolithic burial sites has revealed "[20]. 

Hence, it can be considered as one of their prime means of artistic expression [21]. Also, bodypainting appears in numerous different cultures, e.g., among the Rapa Nui on Easter Island [22], among the indigenous people of Australia, Polynesia, Melanesia, and parts of Africa, and many Native American tribes once practiced it as well [23]. In India, it is typical for Sadhus, who cover their bodies in ashes, but also for dance performances such as the Kathakali dance theatre from Kerala [24].

Today, bodypainting traditions are continued in some cultural contexts: "Bodypainting is a common form of self-expression in many indigenous cultures. Nuba men of Sudan paint their bodies white on one side and black on the other. In New Guinea, the women paint their faces red, blue and white, while young Trobrianders use black and white vegetable dyes to paint designs on their faces and rub charmed coconut oil into their skin to make it shine in an attempt to appear more attractive tot he opposite sex "[25]. 

The Surma, the Mun/Mursi, and the Bumi have a long tradition of bodypainting and regard their skin as a meáns to express personal meanings. There are also patterns using warriors in order to frighten enemies and decorations into attracting the opposite sex. To make paint, local plants and fruits are used [26]. Mun clay bodypainting is described as a "unique way of engaging with the environment, for the Mun have an earth-centered habitus "[27]. Matike et al. looked at the Xhosa bodypainting practice and found out that there are certain minerals in the clay that can be beneficial [28].

Often, bodypainting signifies major events or stages in life [29], "it is commonly used in rites of passage, such as initiation rituals marking the passage of boyhood to manhood "[30]. Although this is not explicit in the bodypainting scene, several interview statements indicate that receiving a bodypainting can be a significant moment.

"For me, bodypainting initiated a process to accept my body. "(Sarah)

"[It feels] great! Quite liberating. "(Hannah).

In various cultural contexts, bodypaintings can communicate mythologies, values, and beliefs [31]. This leads to the question of whether cultural appropriation comes into play: "There may be instances […] where ritual face or bodypainting or tattoos are used out of context by outsiders in a cruel way "[32]. In general, cultural appropriation has always occurred in history; consequently, it is nothing new or extraordinary. In the process of inspiration and appropriation, often, new meanings arise.

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