《斷臂》The Severed Arm
2024
五頻道錄像裝置 5 Channel Video Installation
20分，20 min

1960年代於香港、日本與韓國開始流行一種武俠片類型，其將身體殘疾作為敘事的轉折或角色的塑造，透過「不完整」的英雄形象使觀眾能有更多的投射與帶入感，其中最具代表性的作品為張徹導演的《獨臂刀》（1967）。

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然而於當今的數位時代，殘缺的敘事仍持續地發生在不同的影像、介面與操作技術之中，虛擬逐漸將我們的身體感自肉體剝離，我們又該如何應對。《斷臂》以「桌面電影」（Desktop Film）的形式構成，以螢幕錄影程式替代鏡頭、游標取代演員，電腦桌面成為新的敘事場域。與過去的武俠電影相異，我們不再聚焦於殘缺主角，而是消失在鏡頭前的斷臂。

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A genre of Martial Arts Film that became popular in Hong Kong, Japan, and Korea during the 1960s used physical disabilities as a narrative twist or character development. By portraying heroes with incomplete bodies, these films allowed audiences to project themselves more easily onto the characters. The most representative work of this genre is director Chang Cheh's “The One-Armed Swordsman” (1967).

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However, in today's digital era, narratives of incompleteness continue to occur across different videos, interfaces, and operational technologies. As the virtual gradually separates our bodily senses from the physical, we are challenged to find ways to respond. “The Severed Arm” tells the story of a severed arm in the form of Desktop Film. Screen recording software replaces the camera, the cursor replaces the actor, and the desktop becomes a new narrative space. Unlike past Martial Arts Films, the focus is not on a disabled protagonist but on the severed arm disappearing from the camera's view.