很難想象，在那個年代日本就能拍出如此高藝術(shù)水準的電影了，全程看下來都非常有意思。

1.經(jīng)典鏡頭

先是警察收拾桌子的延時攝影，明顯被《發(fā)條橙》的3P場景借鑒；嬉皮士的鏡頭也被《發(fā)條橙》的貓女士片段借鑒；3女3妖的PK場景也被《發(fā)條橙》開始艾利克斯一伙的群毆場面借鑒；三妖逛街吃冰淇淋的場景也被《發(fā)條橙》中的唱片店場景借鑒。最讓我想不到的是，最后結(jié)局的群眾圍觀場面，完全就是《小武》的結(jié)尾的原型。

2.敘事風格

倒敘、插敘等敘事風格我認為奠定了《落水狗》等電影的敘事風格基礎(chǔ)；中間穿插的新聞報道、花絮等玩法在現(xiàn)在看來也新穎無比。

3.臺詞

高逼格的臺詞很有戈達爾的味道，“每個人都有面具” “有的人人生因為累就止步不前”這些臺詞令人久久難以忘懷。

4.題材

這部電影不是簡單的同性戀題材，而是對LGBT中的T（跨性別者）進行了深度的刻畫。片中不斷穿插的采訪也在告訴觀眾每一個T的內(nèi)心世界：他們并不是簡單的同性戀，也不是單純地喜歡男人，而是在內(nèi)心里認為自己是女孩，想要過女孩的生活。這種理念在當時看來，十分超前，甚至在現(xiàn)在也非常超前。

而T在愛情面前也是無力的，并且導(dǎo)演又在此基礎(chǔ)上加上了亂倫的情結(jié)，加速了安迪世界的崩潰——第三者、色情工作者、性少數(shù)群體、亂倫都壓在一個人身上時，悲劇的結(jié)局似乎是必然的。與《橘色》不同，直到電影的結(jié)尾，導(dǎo)演也沒有展示出一絲溫情的味道。

5.總結(jié)

無論是先鋒程度，還是鏡頭語言，還是臺詞，還是敘事方式，這部電影都是教科書級別的大師之作。

實驗電影以思想出格、形式先鋒著稱。有些創(chuàng)作者走向影像裝置/實驗藝術(shù)，而非電影。上世紀六七十年代，日本實驗電影剛剛興起，這股力量和新浪潮一代匯合，誕生了一批杰出的創(chuàng)作者。寺山修司是其一，常被提及。具有學者范，現(xiàn)在較少被提及的松本俊夫，也是當時最有名的實驗電影人之一。

寺山修司把自己的人生當成實驗藝術(shù)來度過，坊間流傳著眾多關(guān)于他的傳奇故事。他是詩人，是劇作家，是電影導(dǎo)演，也是話劇導(dǎo)演，藝術(shù)闖進他生活的每個角落。相比之下，松本俊夫作為實驗影像藝術(shù)家，個人生活沒有太多傳奇可以點綴，供世人膜拜。最值得拿來當叛逆行為教材的，不過是大學瞞著家人棄醫(yī)從藝。

松本俊夫出生于1932年，青少年時期正值日本戰(zhàn)敗后的經(jīng)濟蕭條期。他順從父母之意，就讀醫(yī)學專業(yè)，但并未成為救死扶傷的醫(yī)生，而是當了前衛(wèi)的實驗影像藝術(shù)家。1950年代，日本實驗藝術(shù)尚未成形，對進口電影管制比較嚴格，因此松本俊夫是在研讀藝術(shù)史的過程中，接觸到歐洲早期超現(xiàn)實主義和先鋒電影的資料，成為他之后投身實驗影像藝術(shù)的契機。

五十年代初，日本經(jīng)濟恢復(fù)，民主運動進入高峰，學生頻繁走上街頭抗議。五十年代末，針對即將修改的日美安保條約，日本各階層發(fā)起了20多次全國性的抗議活動，包括大學生、知識分子、藝術(shù)家，都積極參與到反對日美安保條約的運動中。松本俊夫和大島渚在此時創(chuàng)作了與其相關(guān)的作品。

大島渚執(zhí)導(dǎo)的[日本的夜與霧]上映于1960年，針對日美安保條約的抗議還未完全平息，不過敗局已定。片中，曾經(jīng)參與運動的學生在婚禮上展開辯論，爭論行動失敗的原因，質(zhì)問正義的理想是否已被拋棄。

松本俊夫從五十年代中期開始自己的實驗影像藝術(shù)生涯,同時也拍攝紀錄片。1959年，他創(chuàng)作了紀錄與實驗影像混合的短片《安保條約》，作為對時事的回應(yīng)。雖然和新浪潮導(dǎo)演走的很近，還和大島渚、佐藤忠男等人創(chuàng)立了《電影批評》雜志，但他很晚才拍攝處女作，即1969年推出的[薔薇的葬禮]。這也是他創(chuàng)作的四部長片中，最受推崇的一部。

作為紀錄片導(dǎo)演，松本俊夫不是單純的紀錄時事，而是以紀錄片為素材，進行二次“解讀”，即用實驗影像的方法賦予紀錄片新的意義，或是對其進行闡釋。這種方法也被他用在了[薔薇的葬禮]中，除了加入街頭抗議的紀錄鏡頭，還拍攝了素人演員的自白，闡述他們對角色的理解。

阿倫·雷乃的 [格爾尼卡](1950)影響了松本俊夫的創(chuàng)作觀。這部短片以畢加索的名畫《格爾尼卡》為素材，通過“拆解”細節(jié)，“紀錄”被德國法西斯轟炸后的小鎮(zhèn)格爾尼卡地獄般的景象。松本俊夫把這種創(chuàng)作手法用到了自己的紀錄片、實驗影像和電影中。[安保條約]是對新聞素材的二次處理，將觀眾帶入思辨的立場，而非被動接受新聞。

有些中文評論文章提到松本俊夫時，稱其為日本電影新浪潮的鼻祖或旗手，甚至有人把他1969年才完成的[薔薇的葬禮]夸為日本新浪潮的開端，前者只能說是夸大其詞，后者根本就是罔顧事實。日本新浪潮起于19 60年，松竹電影公司的大島渚、吉田喜重、筱田正浩在這年推出處女作或第二部電影，媒體以法國電影圈剛剛興起的"新浪潮"形容他們，由此掀開日本新浪潮的序幕。

松本俊夫此時既專心于實驗短片的創(chuàng)作，也發(fā)表電影評論，同時還為大島渚的[飼育 ]做了編劇工作，改編自大江健三郎的小說。他和大島渚、寺山修司等人關(guān)系很好，創(chuàng)作上互相幫助，例如松本俊夫的實驗短片 [母親 ]，采用了寺山修司的詩歌作為旁白。他們對日本政治、反叛文化、前衛(wèi)藝術(shù)有著共同的興趣。ATG(日本藝術(shù)影院協(xié)會)在東京新宿的駐地，是他們在1960年代的活動中心。

在 ATG的資助下，松本俊夫執(zhí)導(dǎo)了處女作[薔薇的葬禮]，除了加入其一貫使用的紀錄片手法，還大量采用了法國新浪潮慣用的跳切，更加肆無忌憚地破壞影像的敘事功能，突出視覺幻象的心理沖擊。這部電影堪稱東方文化下，對《奧狄浦斯王》最經(jīng)典的改編，弒父娶母的古代悲劇，變成現(xiàn)代的弒母和同父親亂倫的悲劇。

夏爾·波德萊爾寫的詩句“我是傷口，又是刀鋒”，是[薔薇的葬禮]的引子，出現(xiàn)在片頭字幕中。松本俊夫的一些創(chuàng)作，正是揭開傷口和刀鋒并存的現(xiàn)實。

A masterpiece. Among all Japanese films that I have watched, ATG films always deeply intrigue me. Mastumoto certainly attempts to create a conflict between two poles, such as the avant-garde and the documentary as the reading suggests. Before entering the discussion of his combination of different genres (or even beyond the traditional-defined film medium itself), I want to briefly discuss this dichotomy embedded in this film. The film starts with a poem claiming one person as both wound and knife, both victim and executer. This dichotomy is settled at the very beginning of the film. Later around 4:22, Gonda and Eddie are placed on two opposing side of the screen, showing this dichotomy again. This also indicates the paternity conflict. The imagery of rose is also two-sides. On one side, it is extremely attractive and beautiful. On the other hand, it hurts people who hold it. This reminds me the Marxism theory of synthesis. The conflict between thesis and anti-thesis will create a new synthesis which is higher than the original thesis-antithesis level. This motivates the social progress. The new synthesis will become the new thesis, seeking a conflict with its anti-thesis. As Matsumoto is very aware of the past major film theories, (I really love the quote from Mekas) it is also possible that he learned the writings from Sergei Eisenstein or Dziga Vertov, who highly borrows from Marxism. Therefore, the concept of surrealism and seeking higher truth may also be connected to the concept of “eye” attributed to camera. Vertov’s work “Man with a Movie Camera” definitely demonstrates this idea. Therefore, the foundation of the documentary-side in “Funeral Parade of Roses” may originate from it. However, as the prompt suggests, this film also aggregate so many other genres or even elements beyond cinema to construct a deeper truth. From my perspective, this practice may compensate the innate disadvantage in documentary genre itself.

It is easy to firstly identify the documentary-side elements in this film. This film uses a lot of non-professional actors and actresses, mitigating the illusion of real from the sense of acting. The audiences will be more persuaded by its narration. Also, when the assistant yells out “Cuts,” audiences are aware of the fakeness of this narration, cancelling the illusion as well. The following interviews on either the cast or some random passers-by are also elements of documentaries. They are revealing their personal feelings of the plots, their identities, their dreams and their living conditions. These are not mingled with the narration part (or melodrama part, which will be discussed below) because such information is given purely orally by these people. There are no direct reproductions through images. Furthermore, the response or adaptation from the current events, such as the students’ riots, the wars and even the film posts on display, actively enhance the sense of the newsreels, which could be considered as the early form of the documentary.

However, a significant problem in the documentary-end is the unreachable truthfulness. The editing and the montage inevitably create new meanings instead of faithfully demonstrating the happenings that “once have been there.” Many documentaries, even in early periods, are proved to contain false information or overabundance of propagandistic messages. Robert Flaherty's “Nanook of the North” exaggerates the wilderness of the residences and invents many scenes. The camera perspectives and montages from Leni Riefenstahl’s “Triumph of the Will” certainly glorifies the image of Hitler. Therefore, it is impossible to achieve this superficial level of truthfulness because of the innate cinematic languages. Then, Mastumoto attempts to achieve a deeper sense of truthfulness in the unconscious level. Memories, or sense of memories, may facilitate this practice. The pieced images could become analogies for audiences to recall or recollect, from their daily viewing of different films or even other medias. There are two threads of this adding-up: referring to previous dominating genres that people are familiar with, then exploring the future possibilities of the cinema itself through style of “avant-garde” (manipulating time and borrowing from installation art and television).

For the first thread, Matsumoto clearly refers to melodrama, slapsticks, and some aspects of Jidai-Geki through many devices. The core of the plots still shows the sense of melodrama, even its editing skills are avant-garde. The essence of the scripts for the narrative part demonstrates a clear pattern of Eddie’s whole life, while the audiences need to paste all the parts scattered around together. Several photographs show him as a baby. After his father left, his personalities start to change. He uses make-up. When he uses lipstick, his mother beats him. He witnessed his mother meeting another man. He kills both of them. He then works in a bar, causing a typical triangle between him and Gonda and Leda. Finally, all three are dead. This kind of love affairs and struggle is typical for most melodramas, only the characters are more complicated than the normal examples. This familiar structure from a familiar genre will mitigate the sense of pioneer which may frighten the audiences, making this film more acceptable. The abundance of sex depictions also reminds the audiences the pink films as well, which becomes a powerful advertising device to appeal to the audiences, enlarging the span of its potential targeted viewers. The camera shows all different angles of the naked bodies, with many close-ups. This may clearly recall the pornographical aspects of the pink films. In addition, the reference to slapsticks also create this sense of amusement and entertainment, relaxing the audiences from the more serious and uncanny avant-garde parts of the film. In many fighting scenes, Mastumoto accelerates these shots and uses very simple and delighting background music with quick tempos. This quickly connects to the Hollywood slapsticks such as Keaton’s or Chaplin’s work. This play of time is harmonious with the more avant-garde style of manipulating time. However, it is more familiar to the audiences, replacing this work together to the stream of all the past masterpieces. In one shot, Eddie and Guevara lean on the walls that is full of Pasolini’s film “Edipo re”. They both have the theme of killing fathers. This is also a device of linking this film to previous works in more clearly genres. Finally, from 37:49, the background music for the quarrel between Gonda and Leda are traditional Japanese theatrical music. In this scene, Gonda is dominating the fighting against Leda and kicking him, showing the sense of male chauvinism. Utilizing the traditional instruments for the music here links to the genre of Jidai-geki, which are mostly adaptations from histories or traditional theatres. This genre here seems to ironically criticize the traditional Japanese patricentric culture.

Furthermore, this film also has lots of avant-garde elements. Among those numerous examples, two significant parts are the manipulation of time and the mediums beyond-cinema. Isami’s response has already clearly analyses the relationship between this film and Godard’s jump cuts. Therefore, I will not repeat this argument. There are many repetitively used shots placed in different places of the film. Sometimes they seem to show a continuity in narration, while some of them appear as the hallucinations or dream of Eddie. His memories and dreams contribute this manipulation of time. There are also many moments that the audiences could feel the sense of omens from the objects. After the scene showing dead Leda, there are two dolls on the ground. One of the dolls has a needle pinned on the neck. Another doll’s two eyes are both pinned by the needles. At the end of film, the deaths of Eddie and Gonda clearly revive this pattern. Gonda kills himself by cutting his neck, and Eddie tears his two eyes. This seems to be a De Ja Vu. This manipulation of time is significant for the seek of the deeper truth. One specific aspect of dream is that people do not know the beginning and the ending. The jumps cuts and repetition clearly imitate the similar sense of dreams and deeper memories. Therefore, the memories of Eddie are scattered around the film and freely connected. Finally, as the Mekas’s saying that “all definitions of cinema have been erased, all doors are open now,” this film also aggregates many other art forms. The scenes in the galleries showing the paintings of masks are linked to the gallery-environment. The scene depicting seven naked males’ backs with one rose thrusted in one’s butt clearly creates the sense of action arts or happenings, which is a widely used art form during this period in response to the wars and nuclear horrors, such as Yoko Ono’s “Grapefruit” and “Cut-pieces.” The reference to this new wave of art reforms could intensify this film’s connection with its contemporary political issues. Finally, television dominates many scenes in the film as well. The Eddie’s group gathers around to watch the television. The news of detecting drugs is also delivered through the form of television program. Therefore, this film seems to break the boundaries of instantaneity of cinema, which the audiences merely stay in theatre with darkness for two hours. The television, a familiar medium that represent the audiences’ daily routines, seems to arouse more perpetuating senses for the audiences. This generalization also represent the accumulation of the audiences’ or the characters’ unconsciousness or memories, because people will receive the news and understand the worlds through watching cinemas.

題記： 上世紀六十年代末的日本社會正處在政治和思想文化的動蕩與轉(zhuǎn)型時期，那些青年人拿起共產(chǎn)革命偶像的語錄，奔走在喧嚷和喋血的街頭，和巴黎學生們一道沖擊著社會賦予人類的權(quán)利潛規(guī)則，而這一切在二十年后又再度重演。 故事從一個煙洞說起，那是一個異常駭人的煙洞，強悍的母親為了徹底地閹割兒子對于父權(quán)的幻想，將一家三口的全家福照片燙出了一個惡心的煙洞，父親的臉被抹去，留下異常丑陋的母子兩。 如同俄狄浦斯寓言一般，Eddie愛著自己的父親，因為父親有成熟的男人體征，而Eddie卻潺弱的一碰就頭發(fā)昏，稚氣未脫的臉頰上，浮現(xiàn)不經(jīng)意的少年氣息。他穿異性的服裝，大搖大擺地走在東京街頭，對學潮的不知所措，但是吵架時逗樂的表演，讓人發(fā)笑，他(她)象征野菊花，美麗，端莊，生機勃勃。 20世紀60年代末期的日本社會，逐漸走出了戰(zhàn)敗的陰霾，經(jīng)濟得以高速發(fā)展，文化和思想也發(fā)生著劇烈的變動，Eddie作為一個異裝演員，和許多被采訪的同性戀者一樣，生長在流變不拘的這樣一個時刻，揮霍汗水，供人解嘲和消費著，對此他們渾然不覺，打扮、內(nèi)訌、爭風吃醋，成為生活的主旋律，在同性戀變裝俱樂部里，他們倒要看看說誰才是最香艷且至高無上的女皇。 Madam是俱樂部老板，一舂腐敗的大觀園里，他(她)和Eddie共同擁有了一個男人，像極了權(quán)利高度集中的宮廷四壁，國王和一群貴妃之間的故事。Eddie和父親交合的片刻，腦中出現(xiàn)的無數(shù)個斷片，無父無母的孤兒，帶著假面的行為藝術(shù)者。 片中交織了無數(shù)個一閃而過的短鏡頭，展現(xiàn)了復(fù)仇精神極其可怖的一面。少年Eddie弒母又將母親的情人絕殺，年少不經(jīng)卻哀怨重生，舉刀殺害母親的同時，也將自我鎖定在一個永不更替的軀殼里，同時墮入萬劫不復(fù)的洪荒。片頭Eddie和父親的做愛鏡頭用了大特寫，身體的細碎被描畫下來，黑白影像若是為了增加真實的效果，強調(diào)皮膚的質(zhì)感倒也說得過去，鮮血和菊花，交織/崩裂/融合，在鞘門間殘酷地叫嚷。 Eddie的一群朋友在自設(shè)的地下俱樂廳里觀賞學潮的紀錄片，畫面變形又扭曲，一伙人大笑，詩人不關(guān)心政治，因為社會拋棄了他們，同性戀，易性癖也不關(guān)心政治，因為他們覺得自己是少數(shù)派，茍活而已，只有學生走上街頭，以示威和反擊的方式，向社會表達著自我的不滿情緒，他們拿著chairman毛的畫像，和巴黎學生們一道沖擊著社會賦予人類的權(quán)利潛規(guī)則，而這一切在二十年后又再度重演。 性別作為個體的社會基本屬性，以一種居高臨下的姿態(tài)，占據(jù)著個人的私生活，踐行著不可逾越之底線的價值判斷。打破性別的二元神話，勢必就與反叛媾和，而權(quán)利和權(quán)力的界限在性別美學的維度上，顯示出涇渭分明的倫理觀。變裝人正是自覺或不自覺得懸踏在這種極端美學之上的戰(zhàn)栗之花，他們的下場如何取決于這個社會錙銖必較的細節(jié)末梢神經(jīng)，他敏感而又脆弱，卻依然地吊詭，就如同胯下的巨物，堅硬地勃起又快速地疲軟掉。 Eddie得知自己強暴了父權(quán)之后，自插雙眼并奪門而去。他要讓這個異常丑惡、寡廉鮮恥的社會看一看這個異端份子的下場，這讓筆者想起賈樟柯的小武，一個是流血的呼號，一個是帶傷的黎明。 片中主人公的命運延續(xù)了西方神話的立場，包含宿命、因果和社會倫理規(guī)則，一部西方主流意識的先聲電影，開啟了日本電影同性戀文化，27年之后，天朝也出現(xiàn)一部談?wù)撏詰訇P(guān)系的電影，歷史總有驚人的相似之處。 影片資料 名 稱：薔薇的葬禮.Bara no soretsu (1969年) 類　型：劇情 地　區(qū)：日本 導(dǎo) 演：Toshio Matsumoto 演 員：Shotari Akiyama Kiyoshi Awazu Emiko Azuma 評 價：藝術(shù)性6.8，欣賞性7 作 者：俗人?李 2010年5月12日 星期三 22時41分 鵬城

《薔薇的葬禮》是一部關(guān)乎自我毀滅的電影。它向我們展現(xiàn)了上世紀日本跨性別的邊緣年輕群體的世界，在這個世界里，絕望、愛與死亡構(gòu)成了一種戲劇性的譫妄，這種譫妄的強度對于觀眾而言，實際上如同被施了迷魂藥一般。 主人公Eddie，愛到絕望，美到扭曲。黑白粗糲的攝影效果中，Eddie黑而濃密的睫毛，精致的唇妝，微笑抑或言語，皆有一種隱秘而微妙的墮落美，恰如日本文化中的野菊花，美麗、端莊。他放肆地穿著女人的服飾，和同為異裝癖的地下同性戀俱樂部的友人行走在東京的街頭，毫不顧忌地走進男廁。那是日本的1969年，全共斗運動席卷日本新一代，年輕人渴望擺脫政治上的虛無。學生運動、反越戰(zhàn)，一切已經(jīng)垮塌，日本沉沒，沒有未來。那是Eddie，又何嘗不是六十年代末日本青年的造像：頹廢、恍惚、扭曲、荒唐。松本俊夫的鏡頭不過是對日本精神缺失的現(xiàn)實世界投去的最低限度的一瞥。 電影的鏡頭在不斷的閃回、跳轉(zhuǎn)之下逐漸拼貼出了Eddie不堪的過去：Eddie與母親相依為命，對母親有著極強的占有欲。他對母親說，忘了那個男人，母親大笑。當母親有了別的男人后，他感覺一種被母親遺棄的憤怒，于是他就把仇恨與暴虐施加在母親身上。。。。。。自此，就如同神諭在他身上下了詛咒一般，Eddie萬劫不復(fù)。和帕索里尼的電影《俄狄浦斯王》不一樣的是，松本俊夫繼承并顛覆了弗洛伊德有關(guān)“俄狄浦斯情結(jié)”的命題，Eddie的人設(shè)被定為弒母、與父亂倫。在影片末尾短短五分鐘不到的時間里，劇情發(fā)生了顛覆性的反轉(zhuǎn)：父親權(quán)田意外發(fā)現(xiàn)了Eddie夾在《父親的回歸》的書里被煙頭燙過的全家福，父子亂倫的真相昭然若揭。權(quán)田自刎，Eddie自戳雙目。從他的眼里流淌出來的，是血，是淚，是一朵絕望至死的薔薇從綻放走向枯萎的印證。這是薔薇的葬禮，也是晦澀而扭曲的愛，慘烈駭人，凄美異常。他是傷人的劍，也是劍傷的人；他是劊子手，也是受害者。 這種由精神變態(tài)引發(fā)的沖破倫常的故事，特別容易對觀眾造成心理沖擊波，但也恰恰說明，人類關(guān)心這類故事、命運和悲劇的下意識，正是指向著謀求一種滿足和解釋：它緣何如此發(fā)展，形成悲劇的社會原因何在？說到底，人是社會的人，人的本質(zhì)并不是個人所固有的抽象物，在其現(xiàn)實性上，他是一切社會關(guān)系的總和。松本俊夫?qū)Ψ浅B(tài)倫理文化的透視，把觀眾的關(guān)注點引向了一些邊緣群體。不要否定，他們在城市里形成了一個不可滲透的小小的區(qū)域，那里藏污納垢，產(chǎn)生和消化一切罪孽，自生再自食，沿一種不可理喻的規(guī)律循環(huán)。他們病中帶痛地生活在大多數(shù)人的對立面，遭受著憎惡與排斥。其實電影更多地是隱喻了戰(zhàn)后喪失了秩序、信仰和方向的年輕一代，性倒錯、嗑藥、對國家的不信任，自我的放逐，都是那個特定的年代的標志。 《薔薇的葬禮》其作為實驗性的先鋒電影和上世紀六十年代電影日本’新浪潮’時期的發(fā)軔之作，其對索?？死账埂抖淼移炙雇酢愤@一悲劇的充滿野心的改編，用近乎極端的方式挑戰(zhàn)觀眾的感官，帶著挑釁的高調(diào)直指同性戀和異裝癖問題，也使得電影外的反傳統(tǒng)主題意義遠超電影情節(jié)，成為同類中獨一無二的作品。無論是其極具爭議的題材，還是先鋒前衛(wèi)的表現(xiàn)方式，這部影片都已經(jīng)在日本電影史上留下了濃墨重彩的一筆。 而松本俊夫作為與寺山修司、大島渚齊名的日本60年代獨立電影三大支柱之一，直接推動了日本電影’新浪潮’的發(fā)展。從《薔薇的葬禮》、《十六歲的戰(zhàn)爭》到《Ginrin》、《石油的起源》，松本俊夫一直保持著實驗性的創(chuàng)作，這些作品也為觀眾提供了全新的感官體驗。但精英化的前鋒藝術(shù)與大眾文化本身就有沖突，所以多數(shù)時間這些只是小眾地生存在夾縫中。邊緣藝術(shù)讓大部分人望而卻步，然而那只是表象，先驅(qū)者的思考將會影響一波又一波藝術(shù)創(chuàng)新領(lǐng)域的研究者和活動者。 詭譎的畫面，前衛(wèi)的藝術(shù)，這份堅硬晦澀令松本俊夫遠離大眾的藝術(shù)審美。但這份實驗精神，也令人肅然起敬。