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这是现场｜楚人美与慧珠：低成本恐怖片工作室

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这是恐怖...现场？

这是现场｜楚人美与慧珠：低成本恐怖片工作室崇真艺客

谈及恐怖类型的核心，尤金·萨克（Eugene Thacker）将其定义为两个极端之间的空间：“我不敢相信我所看到的”和“我看不到我所相信的”。以这样的可见性光谱来衡量，双人项目“楚人美与慧珠”对所谓“东亚恐怖效应”的定义无疑落在光谱的某处，却以一种复杂化的样貌出现，即“让人化为幽魂，使鬼长出血肉”。她们探究基于“缺席的存在”的恐怖，并试图诊断，当东亚灵异叙事被转译为“现代”恐怖片类型的符号和范式时，会呈现出何种错位的契合。

“楚人美与慧珠”致力于研究和穷尽东亚恐怖电影制作的惯例，这种惯例通常（社会性地）将闹鬼归因于女鬼。尽管身处荷兰，远离那些被女鬼缠身已成为潜意识设定的地理场景，她们在观看东亚恐怖片时仍然感到后背发凉。是因为电影中的故事真的“吓死人”吗？或许不是。——或许，这些电影只是副产品，而使她们恐惧的关键隐藏在幕后或屏幕前，即在制作和流通过程中。

如此，“楚人美与慧珠”设想了一家恐怖片制作公司，其本身或许也笼罩在鬼魅阴影之下；以自我指涉的方式，她们力图实现这样一个恐怖片制作公司的构想。鉴于预算有限，“楚人美与慧珠”以“双人”作为复数的最小形式，充当制片人、导演、演员、剧组成员、剪辑师到发行人，影迷甚至盗版贩子等各种角色。她们宣称电影只是副产品，逐一剖析恐怖电影制作的整个装置——从幕后到屏幕前；与屏幕上的情节相比，她们相信这一过程本身对恐怖效应的形成具有同等，甚至更大的关联性。

截至2024年，“楚人美与慧珠”通过一系列与低成本恐怖片工作室相关的物证来表达自己，其中包括（未）完成的电影、预告片、片场实拍、意外流出的花絮片段、道具、演示版DVD、剧本和场景设计等。

* “楚人美与慧珠”（成立于2022年，鹿特丹）是一间低成本恐怖片工作室，位于两位艺术家张渼瑛（韩国）和寇塔（中国）各自艺术轨迹的交汇点。两人于2022年获得荷兰艺术学院（Dutch Art Institute）的硕士学位。

11月2日分享会& “带走你的自制恐怖短片” 活动现场问答节选????

???????

Q: 作为两位?语不同的艺术家，在?个?语?英语的国家?英?沟通、?作、创作你们如何处理语?带来的问题？

A:这的确是?个问题，但没有对我们造成过多困扰，在???作过程中语?没有造成明显麻烦，总是能理解彼此（或许之所以能成为搭档也是有共同语?）。在荷兰?英?也?太?问题，但的确与当地保守?量有距离。

Q: 为什么当我们想到东亚恐怖?的时候，我们?先想到的恐怖元素是?性形象？

A:这是我们尝试探究的?部分问题，应该与那些影响?泛的经典影?有很?关系。主要也是因为?性（尤其东亚），?久以来处于被压迫/抑制的低地位，她们成为?/反抗起来/作?缠?变成?件容易被想象到并且令?担忧的事，并且让?害怕。

On what is at the core of the horror genre, Eugene Thacker defines it within the space between two poles: “I can’t believe what I’m seeing” and “I can’t see what I believe.” Measured by Thacker’s spectrum of opacity, the duo project Chu Renmei & Hyejoo situates the “East Asian horror affect” not as an exception but as its complication, i.e., “rendering the person ghostly and making the ghost fleshy.” Investigating the East Asian horror affect premised on “absent presence,” the duo attempts to diagnose the concealed unfitting fits that occur when East Asian ghost narratives are translated into the “modern” cinematic codes of horror.

Chu Renmei & Hyejoo is dedicated to studying and exhausting the conventions of East Asian horror filmmaking, which socially attributes hauntings to female ghosts. Based in the Netherlands, displaced from the geographical sites where being haunted by female ghosts is taken as the subconscious stipulation, the duo finds themselves nevertheless scared of the East Asian horror genre. Is it because the stories in the movies are genuinely “scary as fuck?” Probably not. Perhaps, the films are just byproducts, and the key to answering their question lies behind the scenes or in front of the screen, i.e., within the process of production and circulation.

Henceforth, Chu Renmei & Hyejoo speculates on a horror film production house that might itself cast shades of mysteries, a self-referential approach aimed at realizing such a horror film production house. Since they are low-budgeted, Chu Renmei & Hyejoo takes the form “two” as the minimum for the plural, taking on roles from producers, directors, actors, film crews and editors, to distributors, fans and even pirates. Declaring that the film is a byproduct, Chu Renmei & Hyejoo dissects the apparatus of horror filmmaking—from behind the scenes to in front of the screen—as equally, if not more, relevant to how one is dreaded.

As of 2024, Chu Renmei & Hyejoo expresses itself through a selection of material evidence of the production house, ranging from (un)finished films, trailers, shootings, leaked footage, props, demo DVDs, scripts, and set design simulations.

*Chu Renmei and Hyejoo (b.2022, Rotterdam) is a low-budget horror film production house established at a point of convergence between the respective artistic trajectories of two artists, Miyoung Chang (KR) and Dakota Guo (CN). The two artists obtained their MA degrees from the Dutch Art Institute in 2022.

Excerpts from the Q&A Session of Artists Talk & Event “Make Your Own Horror Short Film”

Q: As two artists with different mother tongues, how do you navigate the challenges of working, creating, and communicating in English while living in a non-English-speaking country?

A: This is indeed a challenge but hasn't caused us significant difficulties. In our collaborative work, language has not posed major obstacles—we always manage to understand each other (perhaps having a shared language is part of why we work well as partners). Working in English in the Netherlands has also been relatively smooth, though there is a certain distance from the more conservative segments of local society.

Q: Why is the female figure the primary image that comes to mind when we think of horror films from East Asia?

A: This is a question we have also sought to explore. It likely stems from the influence of iconic and widely recognized classic films. Additionally, it reflects the historically oppressed and suppressed status of women—especially in East Asia. Women embodying ghosts, resisting, or haunting others become not only an easily imaginable scenario but also a source of societal anxiety and fear.

A B Cult Doll (Trailer), 2024, Chu Renmei & Hyejoo Production

A woman posts a picture of her lost doll. And the post starts getting tons of comments about how the doll in the picture looks like it's moving…

一个女人发布了一张她丢失的娃娃的照片。帖子下面有很多人评论，说照?中的娃娃看起来好像在动......

Gotcha! (Trailer), 2024, Chu Renmei & Hyejoo Production

Cheng pours himself a glass of water. Absent-minded, Cheng drops the glass, spilling water all over the floor. Cheng demands Qiao to wipe it off. Qiao wipes it off. The water comes back. Qiao wipes it off. The water comes back, again and again, and again, until Cheng is finally gone and Qiao escapes.

呈给自己倒了一杯水。一晃神，呈松手打翻了杯子，水洒了一地。呈让乔把水渍擦掉。乔擦掉了?渍，但它又出现了。乔再次擦掉，水渍却再次浮现。如此反复，一遍又一遍，直到有一天呈消失，乔也终于逃离。

M-i-r-o (Trailer), 2024, Chu Renmei & Hyejoo Production

An exhausted, low-budgeted film crew is driving to an unknown–yet quite far–destination for a shooting of their new horror film. A few hours into the tedious drive, the lead actress makes an attempt to lift the air by saying, “I accidentally made a prop,” and takes a broken mirror out from her bag. The crew slowly starts to chat about their “new prop”–an accidentally broken mirror–while the fractured mirror silently reflects the car's ceiling (or is it).

一个筋疲力尽的低成本电影摄制组正驱?前往一个未知（但遥远的）目的地。??时乏味的?程后，试图活跃?氛的?主?说道，“我不小心做了个道具，” 而后从包里拿出了一面破碎的镜子。摄制组渐渐聊起了他们的“新道具”——这?意外破碎的镜?。它静静地反射着?内的天花板（又或者）。

The Cursed Tape (Trailer), 2024, Chu Renmei & Hyejoo Production

You got a VHS tape (how you got it does not matter). You push the tape into whatever VTR model you have access to. You see yourself obtaining the VHS the exact way you did. I think it’s scary. Don’t you? You got a VHS tape (how you got it does not matter). You push the tape into whatever VTR model you have access to. You see yourself obtaining the VHS the exact way you did. I think it’s scary. Don’t…

你有?盘录像带（怎么得到的并不重要）。你把录像带推?你拥有的任何型号的播放器。你会看到??获得这盘录像带的过程。怪吓人的，不是么？你有?盘录像带（怎么得到的并不重要）。你把录像带推?你拥有的任何型号的播放器。你会看到??获得这盘录像带的过程。怪吓人的，不……

The Mary Jane Shoe (Trailer), 2024, Chu Renmei & Hyejoo Production

A teenage girl wearing a school uniform and a pair of Mary Jane shoes catches sight of an abandoned Mary Jane shoe on her way back home late at night. The next day, around a squeaky swing in a nearby deserted playground, she meets a girl from the same school wearing a uniform and a pair of Mary Jane shoes. The two girls quickly become friends, occupying the squeaky swing as their secret fortress.

身穿校服和一双玛丽珍鞋的少女在深夜回家的路上看到了一只被遗弃的玛丽珍鞋。第二天，在附近废弃操场上一架吱吱作响的秋千旁，她遇到了?个身穿校服和?双玛丽珍鞋的同校??。两个??很快成了朋友，把吱吱作响的秋千当成了她们的秘密基地。