Good Old Days | 镜伊 Ginn

Good Old Days Part.1 昔日好时光
2023
Digital Video, 05:11

Good Old Days Part.1 is a short experimental film that tells a story about a city with a collective memory of a bygone era and its tangled residents. It’s done through a series of absurd cinematic shots, pixelated spatial transitions, scenario-based sounds, and symbolic graphical repetition.

It plays around moving images and its extended forms（text, symbol, printed zine), which examines the rebellion of psychic structure against its environment in digital space.

It keeps pace with time and ends when the end is near. By that time, it ought to unveil the collective yearning for an idyllic past that has since passed into memory, while concurrently re-evaluating the criteria of a fulfilling life in an technology-dominated era.

Good Old Days Part.1是一部实验动画短片，讲述了一座城市对逝去时代的集体记忆及其纠葛居民的故事。影片通过一系列荒诞的镜头、像素化的空间转场、场景化的声音以及象征性的图像重复来呈现。

影片以动态影像及其扩展形式（文字，符号，打印的手册）为媒介，探讨了心理结构在数字空间中对环境的反叛。它与时间同步展开，并在终点临近时结束。届时，它试图揭示人们对早已逝去的田园过去的集体渴望，同时重新审视技术主导时代中充实生活的标准。

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Psychics & Urbanism, Love & Violence

Incipiently, what excited me were the metaphorical connections between urban living spaces and our mental structure—the angles of walls, the lines of buildings, the spatial relationships of objects—and how silent they were as stages for the potential violence of love. The way each of us perceives one’s topological relation between ourselves and other individuals/objects formed the foundation of our mental architecture.

If we were to imagine the intricate relationships of all things in our cognition as some colossal structure (perhaps infinite, beyond our imagination), the shifts within that structure would appear violent, and the leaps between nodes would seem absurd. We tend to interpret this force that generates structural shifts as love. When it happens, an undercurrent that can destroy life and imply death surges around.

This film signifies this kind of life.

心灵与城市化，爱与暴力

最初吸引我的是都市生活空间与我们心理结构之间的隐喻性联系——墙壁的角度、建筑的线条、物体之间的空间关系——以及它们作为承载爱之暴力潜能的沉默舞台。这种每个人对自我与他人/物体之间拓扑关系的感知方式，构成了我们心理结构的基础。

如果我们将认知中万物之间的复杂关系想象成某种庞大的结构（也许是无限的，超出我们想象的），那么这一结构中的变化将显得暴烈，而节点之间的跳跃则近乎荒诞。我们往往将这种促使结构发生变化的力量解释为爱。当它发生时，一股暗流随之而生，既能毁灭生命，也暗含死亡的意味。

这部影片即是这种生命的象征。

Publics, Intimate, Unknown

The film aims to convey impermanence through environmental storytelling. Hence, the film is segmented into three distinct spaces: mall+school (Publics), home (Intimate), and lab (Unknown). In an urban environment under technological dominance, these spaces are intertwined, exploring how public and communal spaces bridge identities, how private spaces are etched with memories and latent violence, and how the encroachment of technology creates absurdity and disconnection.

公共、亲昵、未知

这部影片通过环境叙事传达无常的主题。影片被划分为三个独特的空间：商场+学校（公共）、家（亲昵）和实验室（未知）。在技术主导的都市环境中，这些空间彼此交织，探讨了公共与共享空间如何连接身份认同，私人空间如何铭刻记忆与潜在的暴力，以及技术的入侵如何制造荒诞与疏离。