초록 열기/닫기 버튼
The documentary film Le Moulin depicts the historical tracks of poets in Le Moulin Poetry Society(風車詩社, Fengche Shishe) during the Taiwan's Japanese colonial era. By its content, it re-recognized the surrealist movement of Taiwan that began in the 1930s to audiences. At the same time, it confirmed the synchronic value of these poets through its relationship with the surrealism trend in Japan and Europe. Through Taiwan's arduous history that restricts and dominates the activities of poets in Le Moulin Poetry Society, this film also allowed the audience to reflect again on the times of the place in which these poets lived. In terms of formality, the film expands and displays the synesthesia background in the creations of poets by collaging various paintings, photos, films, and music and sound materials related to modernism. Through objet-oriented bridge dramas, the film also recreates the daily lives of the protagonists existentially. This paper examined the meaning contained in this film in several aspects. First, it reviewed the storytelling aspect of this film by inquiring about the literary-historical background in how Le Moulin Poetry Society gets a relationship with surrealism. Second, it investigated the characteristics of archive exhibitions on artworks variously used in this film and the characteristics of expressions in bridge dramas inserted as a link to the archives by the objet's aesthetic attributes. Finally, to examine the historical perspective, as a way of contextual research, it analyzed the implications of the documentary's intended implementation of synchronism in Taiwanese modernism through several extended perspectives.
