许哲瑜的黑白录像《没有来自家的消息》由两类截然不同的再现形式组合而成:一类是被他从背景里勾勒出来做成动画的人物,另一类是些人物实地被拍摄时候的环境本身。他的动画人,无论是动作还是表情,都故意不遵循镜头的透视——像是被卡在编码事故里的浮游生物,贫贱而顽固。人的衣服,他用平铺花纹代替,让数码纹路漠然地流过人的身体。与此对照的是作为脚本的实景现场:不过哪怕是在这样的直接拍摄里,他也明确地拒绝了通过细节的深入或者是镜头的移动来 He’s black-and-white video “No Home Message” is a combination of two very different forms of reproduction: one is animated characters that he sketches from the background, and the other is the characters The environment itself. His animators, both action and expression, deliberately do not follow the lens of the camera - like plankton trapped in an accident, poor and stubborn. His clothes, he replaced with a flat pattern, so that digital lines indifferent flow through the human body. Contrast this with the actual scene as a script: But even in such direct shots, he explicitly rejected either the details or the movement of the lens