這篇報導寫給外籍生，無法把文化脈絡交代得太複雜。座談會後簡單地訪問了杜篤之和廖慶松老師，他們認為外籍生最好認識在地文化就是透過電影。廖慶松並推薦了三部電影給國外學生，包括《兒子的大玩偶》、《戀戀風塵》和《海角七號》。

杜篤之說，電影關照「人」在想什麼，以及人對事情的看法。從電影中，可以看見台灣說故事的方式，也看見「本地文化要說的東西是什麼」。看電影時，可以思考為什麼台灣電影喜歡這種tempo，和韓國的tempo又有什麼不一樣。

什麼才是屬於台灣的電影？當我提及才看的《第36個故事》，廖慶松便說他正是這部電影的剪接顧問，因此對這部片很熟悉(驚!!!)。他說這部片和以前完全不一樣，加入了現代的觀點。「是一部非常女性主義的電影。」廖慶松解釋，例如女主角最後拒絕了男主角，決定一個人旅行，這就是以前電影完全不會出現的觀點。(我竟然沒發現女主角有拒絕...傻...真有趣...)

總而言之，不同於上一篇的人物側寫，可以把自己的觀察詳盡地書寫。英文報導對象既在外籍生，因此以新的觀點切入─推薦外籍生不可錯過的台灣電影。之後會有編輯幫我把字句修飾美美的。現在就請大家先見諒囉!

       Film

B     By Chang, Chih-Yin

       Campus Reporter

h      The Films that International Students Cannot Miss

The international award-winning film editor and sound designer, Liao, Ching-Sung(廖慶松) and Tu, Du-Chih (杜篤之) suggested international students who want to know more about Taiwan, just watch Taiwanese films at Chengchi University(NCCU) on Oct. 22.

Liao and Tu have worked with the well-known directors such as Wong Kar-Wai(王家衛), Hou Hsiao-hsien(侯孝賢), and Tsai, Ming-Liang(蔡明亮). Their work have travelled to Europe, America, and everywhere like Cannes Film Festival.

Liao said his life turned when Taiwanese films changed to a new type in 1940s. He soon realized a film can tell a story in multiple and abundant ways instead of only setting the scenes in the rooms, which Liao joked about traditional movies that everything only happened in the living room, dinning room and bedroom.

“I am willing to invest all my life on editing.” Liao said. When Liao found the development of economics, the architecture in a town and city, past memory and history were combined in a film, he saw the possibilities of films.

In this way, Tu said film is a good start for international students to know about Taiwan, because film itself focused on human.

“You can see the views from local people, and what the local culture seek to demonstrate.” Tu said. He thinks through a movie, foreign students may observe not merely how people judge but also how people tell a story in Taiwan.

Liao recommended some typical and famous films for international students, such as “Dust in the Wind”(戀戀風塵) and “The Sandwich Man”(兒子的大玩偶), whose directors were born in 40s and depicted the past Taiwan. Liao said Taiwanese’ common memory and affection can be seen from the both movies

Liao and Tu, who have both been awarded the film industry's highest honor, the "National Literature and Art Achievement Award" and who are the driving force of "New Movies in Taiwan."