錄像、世界地圖、熱感紙
Single-channel video, World map, Prints on thermal paper

尺寸依場地而定
Dimensions variable

2024

目前世界上時間最長的電影是 2012 年瑞典導演 Erika Magnusson 與 Daniel Andersson 的作品「物流」(Logistics)，片長總計 51,420 分鐘，等於 857 小時，需要花費 35 天才能完整看完。當電影的播放時間長如生活，不在只被限縮於幾個鐘頭，這樣的觀看體驗會是如何？如果作者的目的不是為了讓觀者看完全片，而是體驗從無法分辨何時結束的影片段落中，找尋自己適合進入的理解路徑與節奏。

我用近 30 種語言，以「世界上最長的電影」這一個關鍵字，在 youtube 的短影片檔案庫中搜尋、篩選、排列，並建立了一個介紹最長電影的短影片播放清單，夾雜著速食化的讀取、長與短的矛盾特性，營造只需讀取時間和捲動(Scroll)的視聽氛圍，一個另類接近世界之最的方式。

最後，在《物流》電影中，兩位導演從瑞典斯德格爾摩到中國深圳，花了37天反向追蹤電子計步器的前世今生，將穿越陸路、海路的移動過程，馬不停蹄的拍攝下來，成為世界上最長的電影。當我在取得不同國家創作者影片授權的過程，藉由書信往來壓縮著物理時間與距離，形成微妙的溝通網絡。

The longest movie in the world is “Logistics,” a 2012 film by Swedish directors Erika Magnusson and Daniel Andersson, with a total length of 51,420 minutes, equivalent to 857 hours, requiring 35 days to watch in its entirety. When a film’s runtime stretches to the length of everyday life, no longer confined to just a few hours, what would such a viewing experience be like? If the creators’ intention is not for the audience to watch the entire film but rather to experience finding their own path and rhythm of understanding from segments with an indeterminate end, this opens a new realm of engagement.

I have used nearly 30 languages to search, filter, and arrange short video clips on YouTube with the keyword “longest movie in the world,” creating a playlist that introduces this extensive film. By mixing the fast-paced nature of short-form content with the paradoxical characteristics of length and brevity, I aim to create an audiovisual atmosphere that only requires brief moments of reading and scrolling. This offers an alternative approach to engaging with the world’s longest film.

In the experimental film "Logistics," the two directors embarked on a journey from Stockholm, Sweden, to Shenzhen, China, retracing the origins and lifecycle of an electronic pedometer in reverse. This endeavor, spanning 37 days and capturing the relentless movement across land and sea, resulted in the world's longest film. During the process of obtaining authorization for films from creators in different countries, I found that our correspondence compressed physical time and distance, forming a subtle communication network.