Name: Mandy：底片的藝術！ (Mandy: The Art Of Film Grain)
Uploaded: 2026-02-11T17:14:27.000Z
Duration: 8 min 25 s

His hand touched a smooth, glassy surface.

他的手觸碰到一個光滑、玻璃般的表面。

His fist closed around the serpent's eye.

Slowly he withdrew it and held it before him in the fading light.

他緩緩地將它抽出，在漸暗的光線中舉到自己面前。

One of the interesting byproducts of the digitization of everything is the steep rise in nostalgia for physicality.

萬物數位化一個有趣的副產品，就是對實體事物的懷舊感急劇上升。

There's a great lecture from the writer and publisher James Bridle, where he laughs about the fact that nobody ever really took talked about the smell of books until ebooks started to threaten their existence.

作家兼出版人 James Bridle 有一場很棒的演講，他笑說，直到電子書開始威脅到實體書的存在，大家從來沒有真正談論過書本的氣味。

All of a sudden we became nostalgic for a quality that we never really noticed before.

突然之間，我們開始懷念起一個以前從未真正注意過的特質。

Or take the resurgence in vinyl record sales.

或者想想黑膠唱片的銷量回升。

While it's definitely true that the sound quality of vinyl is amazing, I'd be willing to bet that our attraction to it also has something to do with the object itself.

雖然黑膠的音質真的很棒，但我敢打賭，我們對它的喜愛也跟這個實體物件本身有關。

A real thing that takes up space in your home, a symbol of the analog world.

一個真實的東西，佔據你家裡的空間，是類比世界的象徵。

As more and more of our lives get vacuumed into the digital real, increasingly likely, I think, to look for these symbols and be attracted to them.

隨著我們越來越多的生活被吸入數位世界，我認為我們尋找這些象徵並被它們吸引的可能性也越來越高。

And the crazy thing is that these reminders don't even have to be physical objects.

最瘋狂的是，這些提醒甚至不需要是實體物品。

All they have to do to tap into that nostalgia is resemble the traits of those objects.

它們要觸發這種懷舊感，只需要模仿那些物品的特質就好。

Think about Instagram filters designed to look like old cameras and film stocks.

想想看 Instagram 的濾鏡，它們被設計成看起來像舊相機和底片。

These filters mimic objects that most Instagram users won't ever touch.

這些濾鏡模仿了大多數 Instagram 使用者從未觸碰過的物品。

As Bridle says, putting a filter on your digital photo is an attempt to codify that image as memory, to wrap it up in something solid and historical that calls back to a time before everything was fluid and changing and impossible to hold onto.

正如 Bridle 所說，為你的數位照片加上濾鏡，是試圖將該影像編碼為記憶，將其包裹在堅實且歷史悠久的某種事物中，喚起那個在一切都變得流動、變化且難以把握之前的時代。

In this way, our nostalgia becomes an aesthetic.

這樣一來，我們的懷舊就變成了一種美學。

And in film, one of the features of that aesthetic is grain.

而在底片中，這種美學的一個特徵就是顆粒感。

Film grain is a texture in process film that has the appearance of tiny particles moving around randomly in the image.

底片顆粒是底片處理過程中的一種紋理，看起來像是微小的粒子在影像中隨機移動。

The amount of grain has to do with the speed and size of the film stock and the amount of light being used.

顆粒的量與底片的感光度和尺寸以及使用的光量有關。

During the era when film was the only choice, many photographers and filmmakers tried hard to eliminate this aspect of film production processing.

在底片是唯一選擇的時代，許多攝影師和電影製作人都努力想消除底片沖洗過程中的這個特徵。

But it was always a part of cinema, especially in low budget independent movies using smaller film stocks like 16 millimeter, and

但它一直是電影的一部分，尤其是在預算較低的獨立電影中，像是使用 16 釐米的底片，

without access to big professional studio lighting.

而且沒有專業的大型攝影棚燈光設備。

These days it's easy to tap into that indie aesthetic by using grain.

現在，你可以輕鬆透過顆粒感來運用那種獨立電影的美學。

The grain itself is loaded with all these associations that reach back into the history of film.

顆粒本身就承載著許多可以追溯到電影史的聯想。

The question is, now that grain has its own aesthetic, can that aesthetic be pushed further?

問題是，既然顆粒已經有了自己的美學，這種美學是否能被進一步拓展？

And that brings me to Mandy, the second feature film from Panos Cosmatos.

這就帶到了我今天要介紹的第二部電影《Mandy》，這是 Panos Cosmatos 的第二部劇情長片。

If you haven't seen it do that right now, it might still be playing at a Local theater near you.

如果你還沒看過，現在就去看，說不定你家附近的電影院還有在上映。

Mandy is a revenge horror movie starring Nicolas Cage, reminiscent of the grindhouse films of the 70s and 80s.

《Mandy》是一部由 Nicolas Cage 主演的復仇恐怖片，讓人聯想到 70 和 80 年代的 grindhouse 電影。

When the movie is set, it's a simple story, as most revenge movies are.

電影的背景設定是一個簡單的故事，就像大多數復仇電影一樣。

But what sets it apart is the psychoactive vision and focus of Cosmatos, who clearly has something very specific in mind.

但它與眾不同之處在於 Cosmatos 的迷幻視野和專注，他顯然有非常具體的想法。

Visually, the movie is dark, grimy, often saturated with primary colors, and completely awash in grain.

視覺上，這部電影黑暗、骯髒，經常充滿原色，並且完全籠罩在顆粒感中。

In this way, it's not unlike Cosmatos first feature, beyond the Black Rainbow, which is much more ambiguous, plot wise but interested in exploring the same visual fetishes.

從這個角度來看，這與 Cosmatos 的第一部劇情長片《Beyond the Black Rainbow》並沒有太大差別，後者在劇情上更加模糊，但同樣致力於探索相同的視覺偏好。

For Cosmatos, it's not just about paying homage to old films.

對 Cosmatos 來說，這不只是向老電影致敬。

It's about learning the expressive potential of existing aesthetics and stretching their qualities to see what kinds of feelings and tones they can evoke.

而是要學習現有美學的表現潛力，並拓展它們的特質，看看能喚起什麼樣的感受和基調。

The way I look at it now, though, is I feel like in the present time has no meaning anymore.

不過，我現在看待它的方式是，我覺得現在的時間已經沒有意義了。

I feel like now choosing an era for your film is almost like choosing a color beyond the black rainbow.

我覺得現在為你的電影選擇一個時代，幾乎就像是選擇一種超越黑虹的顏色。

And Mandy invite us to consider film grain as a visual tool, like lighting or color, not just a byproduct of chemical processing.

而《Mandy》邀請我們將電影顆粒視為一種視覺工具，就像打光或色彩一樣，而不僅僅是化學處理的副產品。

Maybe the most prominent quality of film grain is movement.

或許底片顆粒最顯著的特質就是它的動感。

It's swimming, which means that even in a still life of, let's say, a flower on a table, that flower is alive.

它在遊動，這意味著即使是靜態的畫面，比方說桌上的花，那朵花也是活的。

Even though it's not moving, grain gets inside whatever's in the frame and imbues it with motion.

即使它沒有移動，顆粒也會滲入畫面中的任何東西，並賦予它動感。

In fact, this kind of swimming, breathing movement from within mimics the visual effects of hallucinogenic drugs, which play a major part in Mandy film grain is hypnotic, and

事實上，這種來自內在的遊動、呼吸般的動感，模仿了迷幻藥的視覺效果，而迷幻藥在《Mandy》中扮演了重要角色，底片顆粒令人著迷，

that adds to the sense of the film existing in a dreamlike universe or as one horribly bad acid trip.

這也增添了電影存在於夢幻般的宇宙中，或是一場糟糕的迷幻藥之旅的感覺。

At times, the grain almost has a paranoid feeling, like there's something squirming under the image.

有時候，顆粒感幾乎帶有一種偏執的感覺，好像有什麼東西在影像底下蠕動。

Another quality of grain is that it blends.

顆粒的另一個特質是它的融合性。

Grain gives an underlying texture to the frame so that there's a continuity between one object and another.

顆粒為畫面提供了一種底層的質感，讓一個物體和另一個物體之間有連續性。

It gives the impression that the image is atomized into tiny particles that could disperse and overlap.

它給人一種影像被原子化成微小粒子，這些粒子可以分散和重疊的印象。

Cosmatos often mixes heavy grain with smoke to heighten this effect.

Cosmatos 經常將濃重的顆粒感與煙霧混合，以增強這種效果。

For the characters and the viewers, nothing is solid or what it seems.

對角色和觀眾來說，沒有什麼是穩固的，也沒有什麼是眼見為憑的。

In a world that looks like this, you're always vulnerable, always at risk of coming apart.

在一個看起來像這樣子的世界裡，你總是脆弱的，總是面臨著分崩離析的風險。

The most striking example of this is a scene in the first half of Mandy where Mandy herself is kidnapped by a cult and force fed hallucinogenic drugs.

其中最引人注目的例子是《Mandy》前半段的一個場景，Mandy 被一個邪教綁架並被強迫餵食迷幻藥。

Cosmatos turns the dial way up on this scene by drenching the image in purple and pink hues and adding a trailing effect to movement, so that when the cult leader Jeremiah Sands gesticulates, you actually have this steam of grain that falls away from him.

Cosmatos 在這個場景中將紫色和粉紅色的色調浸染畫面，並為動作加上拖尾效果，所以當邪教領袖 Jeremiah Sands 揮舞手勢時，你實際上看到一股顆粒的蒸汽從他身上飄落，將這種效果推向極致。

He graced me with his light, his heart loving light.

他用他充滿愛的光芒、他溫暖的心光恩賜了我。

Then when he kneels down to speak to her up close, Cosmatos actually fades Mandy's face into Sans.

然後當他跪下來近距離對她說話時，Cosmatos 實際上讓 Mandy 的臉融入了 Sands。

It's hardly noticeable at first, and that's purposeful.

起初幾乎難以察覺，這是有意為之的。

The texture of the image helps this be so subtle that you're not quite sure if your mind is playing tricks on you.

畫面的質地有助於這種微妙之處，讓你不太確定是不是你的大腦在跟你開玩笑。

It's important to note that even though this is cool as hell and something that film geeks like myself drool over, this effect is not just visual decoration.

雖然這超屌，而且像我這樣的電影迷會流口水，但這個特效不只是視覺上的裝飾。

Sans is trying to assimilate Mandy into his cult as you see her face fade into his.

你看 Mandy 的臉融入 Sands 的臉，Sands 正試圖將 Mandy 同化到他的邪教裡。

He's using the qualities of psychoactive drugs to loosen Mandy's grip on her own identity so that he can substitute his own.

他利用迷幻藥的特質來削弱 Mandy 的自我認同感，以便他能取而代之。

Stuff like this is what gives Mandy its power.

像這樣子的東西，就是賦予《Mandy》力量的所在。

Its aesthetic is not added onto the film after the fact.

它的美學不是事後才加到電影上的。

It's a film that literally wouldn't function if you took those aesthetic features away.

這部電影如果拿掉那些美學元素，基本上就無法運作了。

That's true for its use of film grain and for all the other visual fireworks of the movie.

這不僅適用於它對底片顆粒的使用，也適用於電影中所有的視覺特效。

You know, as history becomes nostalgia and nostalgia becomes aesthetic, a great opportunity is being presented to new filmmakers.

你知道，隨著歷史變成懷舊，懷舊變成美學，新的電影製作人就有了一個絕佳的機會。

I agree with Time has no meaning anymore.

我同意「時間已無意義」這句話。

Every aesthetic of the past is a palette for the future.

過去的每一種美學都是未來的調色盤。

You can copy and paste those old aesthetics onto your work, or you can take up the colors with a spirit of experimentation and have some fucking fun.

你可以把那些舊的美學複製貼到你的作品上，或者你可以帶著實驗的精神去運用這些色彩，玩得開心一點。

This episode was brought to you by Skillshare, an online learning community for creators with more than 18,000 classes in everything from graphic design and film editing to finance and IT security.

本集節目由 Skillshare 贊助播出，這是一個創作者的線上學習社群，提供超過 18,000 堂課程，內容涵蓋平面設計、影片剪輯到金融、IT 安全等所有領域。

You know, when I learned Photoshop, I learned it through a mishmash of disconnected YouTube videos.

你知道，我學 Photoshop 的時候，是透過拼湊各種零散的 YouTube 影片學的。

And I can't help but feel that the process would have gone a lot faster if there was a class dedicated to teaching me everything about that program in a systematic way.

我總覺得，如果當時有專門的課程系統性地教我那個程式的所有東西，過程應該會快很多。

Learning new skills is super valuable to me because whenever I learn a new skill, it's like a bunch of new ideas are suddenly unlocked in my head.

學習新技能對我來說超級有價值，因為每當我學到新技能，就像腦袋裡突然解鎖了一堆新想法。

我會想，我能用這個做些什麼？

And that always, always helps me with writer's block.

這總是有幫助我克服寫作瓶頸。

A premium membership begins around $10 a month for unlimited access to all courses.

高級會員方案大約每月 10 美元，就能無限暢學所有課程。

But the first 500 people to sign up using the link that's right below in the description get their first two months for free.

但前 500 位使用下方說明欄連結註冊的人，可以免費獲得前兩個月的使用權。

In those two months, you could easily learn the skills you need to start a new hobby or business.

在這兩個月內，你就能輕鬆學到開始新嗜好或事業所需的技能。

More importantly, the skills you learn will help give you you the ideas for what that business or art project could be.

更重要的是，你學到的技能會幫助你激發出關於事業或藝術專案的點子。