theazureattic.k<城市觀察-仙台車站考>高台、步行與流動性第一次來仙台的人可能被車站前錯綜複雜的天橋被迷惑。這種站體本身是一種很日本的結構物，日文造語稱之ペデストリアンデッキ，姑且指稱車站前為步車分離而打造的二樓以上的天橋平面站體。戰後日本進入汽車社會，為了分離進去車站周遭的車潮人潮，首先從千葉的柏市車站開始擴建此類站體，北至仙台，南至…Apr 17Apr 17
theazureattic.kSome Thoughts on Female Agency and Body in Hamaguchi Ryūsuke’s Asako I & II (2018)Near the end of Asako I & II, as Asako and Ryohei are celebrating their engagement at a restaurant, Baku, unexpectedly shows up. Sitting…Aug 17, 2023Aug 17, 2023
theazureattic.k名偵探柯南劇場版《瞳孔中的暗殺者》：遊走的身體、連戲剪輯與都市空間（上）在名偵探柯南劇場版系列電影中，相較於近年來由靜野孔文執導，越發接近麥可貝式的動作片剪輯風格，《瞳孔中的暗殺者》絕對是氛圍上營造最為成功、最壓抑不安的一部。開頭即有兩位警察被刺殺，隨著劇情推展也漸漸指出警界高層涉入的可能性。但有趣的是，此不安氛圍的營造，除了透過敘事上的層次推展，更…Jul 16, 2023Jul 16, 2023
theazureattic.kFrom Vampire to the Vampiric: Vampire as a Celluloid Entity and Celluloid as a Vampiric EntityIt is not until Murnau creates Nosferatu that the affinity between phantoms and cinematic medium itself is fully exploited. As David Cook…Jul 6, 2020Jul 6, 2020
theazureattic.kFrom Vampire to the Vampiric: Bram Stoker’s Dracula as an entity of lighting technologyAs a representative of Victorian urban gothic genre, Bram Stoker’s Dracula not only creates an entity of light but reflects the changes of…Jul 6, 2020Jul 6, 2020
theazureattic.kFrom Vampire to the Vampiric: The Materiality of Light in Bram Stoker’s “Dracula,” F.W.Since Bram Stoker in 1897 publishes Dracula, Vampire soon becomes the most prominent monster in popular culture, extending from fictions…Jul 6, 2020Jul 6, 2020
theazureattic.kMemory as a Site of Contestation in Atom Egoyan’s “The Sweet Hereafter”Setting against the snowy bleak landscape of a British Columbia town, in which the characters are stuck in excruciating loss and haunting…Jun 7, 2020Jun 7, 2020
