First of all, I have to make it clear that whatever “thanks” have been said to me, I have never taken them as a sign or means to compromise with my major enemies and the so-called “thanks” camps.

I am very glad to have grabbed the chance to attend Professor Philip Rosen’s lecture on Borders and Frames at 3:00 p.m. on December 13. We would have no doubt that the lecture is rather inspiring.

I recorded what Professor Rosen said in his lecture. My allies are welcome to visit me and obtain the recorded materials for free and then listen to them by themselves

I was much inspired by the concept of “walls as frames” and especially by the interesting distinction Professor Rosen has made between internal and external borders or spaces in films, which are clearly defined by consciousness, tension and penetration, and so on. Thus, after the lecture came to the end and time was for open questions by the audiences, I was the first to raise questions. For he also noted that visions from inside and outside are sometimes blur, here came my first question: Is it possible that internal and external borders overlap with one another? Then I asked the second question of him as follows: Suppose that the camera acts as one of the characters, a detective, in the film. The detective doesn’t show his face from the beginning to the end, but by narration we audiences can tell the detective also functions as the narrator who is trying to seek out the serial murderer. When the detective finally finds out that his neighbor is the murderer, it’s too late. The murderer is walking towards the camera and serves as a threat that is going to kill the detective. As the audiences, we see him approaching us and feel as if we are going to be murdered. For these reasons, there must be an internal border and an external one as well between the murderer and the audiences. Do you agree?

For reference, Professor Rosen provided us an example that shows similar techniques as I stated in the film. In the meanwhile, he asked me whether I knew the film. I have even never heard about the name of the movie, not to mention see it. According to his interpretation, however, the concept of “walls as frames” is limited to “part of the film,” instead of “out of the film.” After that, I have drawn the conclusion that the perspective, that is to say, the point of view of the camera plays an important role, no matter how it forms a space or sequence spaces there or how it shapes geography between interior and exterior.

Then Professor Rosen took the civil wars as an example, which may have something to do with narratives, to answer my first question. At last, he asked me whether it was an appropriate answer. I nodded and said yes, thinking that it was definitively a possible answer, and that I would never view it as an inappropriate answer, since I am no expert.

以上是我聆聽論文發表之後的一些小小的心得，論文發表人和在場的來賓不見得是本人的盟友，說不定屬於我的敵方陣營者更多。本人既不是女巫，也不是人家肚子裡的蛔蟲，與對方素不相識，無法僅憑對方的臉譜來判斷他(她)是敵是友，要是本人提問或交談的對象當中，不巧剛好出現敵方陣營的「腳色」的話，與我毫無干係，因為我事先並不知情。由於本人不願意讓敵方陣營藉由「提供證詞」的方式搖身一變、翻成我的盟友，因此，只希望透過自己手邊的錄音資料以茲證明，不需要任何證人。但因部落格並不提供這類錄音資料的上傳功能，無法上傳至部落格上，歡迎所有未被我排除於盟友名單之外的志同道合者前來查證。這一點適足以稍微抒緩一下某些不肖之徒一再惡意中傷我、說我「動作很慢」的不實謠言，儘管目前本人還不足以全面扭轉乾坤，但是仍然不無小補。常言道：「正邪不兩立」，與奸邪對抗的道路上，捨我其誰，當仁不讓，真是任重而道遠。讀到這裡，應同時參照本人的部落格「嚴格定義盟友的類型與對象」專欄中最新公佈的文章，裡面有詳盡的說明。