“ I realized these histories, which I have never experienced, have marked their traces in my memories in the form of movies and have transformed into my nostalgia.’’

‘’Cinematic writing’’ is the main expression mean of residency artist Shake’s works. In the project Return, she used the unique historical landscape in the Treasure Hill as the backgrounds and tried to reconstruct the roles Eastern Depot Tsao from Dragon Inn, adopted daughter Hsiao-Yue from Beautiful Duckling and joker Kun-Shu from The Sandwich Man. Through sorting the contextual research of these films, she went through the political ideology that Taiwanese society experienced, as well as the social and cultural overviews. And further, she used cultural elements from different eras to reinterpret these three diverse film characters, as to examine how these roles were being made in that particular ear, and how that could be continued in the resent time.

「那些我從未親身經驗過的歷史，原來是以電影的形象在記憶裡留下印記，成為鄉愁。」

「電影書寫」是雪克的主要創作手法，在《回魂記》計畫中，以寶藏巖其獨特的歷史景觀作為背景，試圖重建《龍門客棧》的東廠頭子曹少欽、《養鴨人家》的孤女小月與《兒子的大玩偶》中的小丑坤樹。經由整理這些電影的文本研究，重返台灣社會曾經經歷的政治意識形態，以及社會與文化的樣貌，並且進而利用不同時代的文化元素，重新詮釋這三個類型迥異的電影角色設定，來思索當初形塑這些角色的時代精神，是如何還流連於現下時空。