鳳甲美術館 Hong-Gah Museum 台北市11268北投區大業路166號11樓（近捷運淡水線奇岩站） 開放時間 Open Hours 10:30-17:30（週一休館 Closed on Monday） 11F., No. 166, Daye Road, Beitou District, Taipei City 11268, Taiwan TEL 886-2-28942272︱www.hong-gah.org.tw	黃明川 台灣 寶島大夢 1993，劇情片，80分 HUANG Ming-Chuan Taiwan Bodo 1993, feature film, 80'00" 黃明川的《寶島大夢》（1993）在他的「神話三部曲」中，很突出地展開了軍事戒嚴體制下的幽靈敘事，在台灣獨立製片電影史上，實屬首創。特定而罕見的場景如潮溼洞穴、軍事碉堡、暗黑灌木叢林，將法西斯欲望與現代軍事體制的關係，透過一本如起乩之身所書的圖文手記，做了夢魘式的展演。軍事逃犯、尋子的父親、鬼魂附身的走私者、亡命浪游者、禁臠女子，在一個荒涼、隔絕的島嶼上，形成1989年《西部來的人》的反題：子尋父、返鄉、脫離現代體制、父親的鬼魂迴返，但不變的是，基本的場景與海洋島嶼地景的密切關聯。從《西部來的人》到《寶島大夢》，黃明川透過特異的語音講述著台灣現代性中的特異風景，也透過獨立電影的特異工作方法與組織方式，影響了許多年輕世代的重要導演和攝影師，這種方法論式的實驗影像，如今仍然以《破輪胎》中強調的影像檔案，持續醱酵。 HUANG Ming-Chuan's "Bodo" (1993) in his "Myth Trilogy" displays the phantom narrative under the martial law enforcement, which was a pioneer in the independent film production history of Taiwan. Distinctive and rare scenes such as damp caves, military bunkers, and dark shrubbery reveal the relationship between Fascist longing and modern military system. The work showcases a play of nightmare with a notebook as if written by a possessed medium. A military fugitive, a son-seeking father, a ghost-possessed smuggler, a wandering desperado, and a captive woman, trapped on a desolate, isolated island, altogether become the antithesis to "The Man from Island West": a father-seeking son, homecoming, departure from modern system, return of father's spirit. What remains the same is the tight connection between basic scenes and the landscapes of the ocean and island. From "The Man from Island West" to "Bodo", Huang, in his peculiar voice, narrates the peculiar landscapes in the modernity of Taiwan. Hence, via the peculiar methods and organization of independent films, the artist has influenced many important directors and photographers of younger generation. Such methodological experimental images are still fermenting through the emphasized image files in "Flat Tyre".