Page 1

ISSUE 34 October 2017

A bi-lingual and bi-monthly independent magazine aimed at bringing works of the young and talented to the world.


This issue presents you with themed fashion. Two supernova women will show you their skills in portraying the beauty of femininity. Lynn from Luxembourg specialises in fashion photography. Katerina from Russia is a professional fashion illustrator. Both of these ladies have gained solid experience in their respective projects and are excelling in their work. On top of that, Shaleihin, the poet, will return with Visualogue, which is an emotional fuelled verse containing pictures that will touch your soul with sensitivity. Last but foremost, David critiques the Friday the 13th franchise so you can see what his reasoning behind the appeal of the movies is. Will you consider them in the spirit of Halloween? As usual, happy reading!


以時尚為題,本期內容為您帶 來兩位擅長記錄女性美態的女 性創作者。 來自盧森堡的Lynn專業為時 尚攝影;來自俄羅斯的Katerina則是擅長時尚插畫,兩 位創作者在各自的領域具深厚 經驗之餘更別樹一格。 另外,Shaleihin將回歸並再 次為大家獻上Visualogue, 用親筆文字和親攝照片以感性 觸動靈魂。 還有David再次評論他兩年前 寫過的電影《鬼敲門》。從來 沒有推翻自己想法的他以全新 角度審視這一套恐怖片,別忘 了閱讀他的影評並看看什麼改 變了他的想法。 一如既往,祝各位閱讀愉快!

An independent magazine aimed at bringing the works of the young and talented to the whole world. Believing in ideas, thoughts and concepts, Garde Magazine follows the principle of simplicity and honesty.


Natasha Chan

CREATORS Katerina Murysina Lynn Theisen

CONTRIBUTORS Smrita Jain David Madsen

Kalle Östgård Shaleihin Pi’ee

Katerina Murysina Fashion Illustration Crossing the borders of ‘conventional’ Lynn Theisen Fashion Photography A bigger piece of sky out there Smrita Jain Documentary Real spirit of fashion among gods Shaleihin Pi’ee Visualogue You Found Me In Red & Blue David Madsen Movie Review The history of ‘The Friday the 13th’ series


katerina murysina fashion illustration

時尚插畫 Crossing the borders of ‘conventional’ 橫跨傳統界限

“The market is oversaturated with talented illustrators, the only way to stand out is to come up with an interest narrative, graphical rhymes and uncommon forms,” says Katerina Murysina. Katerina points out that painting and illustration is very different from the other. She defines painting as art that leads viewers to a certain thought or an emotional impulse, whereas illustration is an art form which accompanies text with context and communicates at an intellectual level. “A nicely drawn flower will never catch a sight but will get lost in the sea of similar pretty flower illustrations,” she says. “Today we consume so much information so fast that looking at meaningless but beautiful pictures for more than a few seconds is a luxury,” explained Katerina. “An illustration has a worthy storyline.” Katerina studied design at St. Petersburg then went to France for a semester to study animation. “In Russia the main emphasis is placed on teaching the techniques and software. All assignments are aimed towards the development of skills rather than thinking; while in France every task is designed to help you grow your imagination and creativity. French schools do not involve any general subjects in its education programme, hence I could full concentrate on developing myself there.”

「整個市場充斥著很多有才華的插畫師,基本上已經在飽和狀態 了。唯一可以突圍而出的就是要有有趣的故事,自我風格和不平 凡的表達方法。」優秀的故事述說者Katerina Murysina說。 對Katerina來說,將繪畫和插畫兩者區分的是「功能」。當繪畫 賦予觀眾某種想法、情緒甚至衝動的時候;插畫則是伴隨著故事 和意境,與觀眾在思想上在理智的層面交流。 「一朵畫得漂亮的話基本不會讓人矚目,因為漂亮的花到處都可 以見到。今天我們以高速處理很多圖像信息,總是看到很多漂亮 但毫無意義的圖像。如果能夠為一幅圖像注目多於數秒已經是非 常奢侈的事情了。」Katerina解釋道。「一幅插畫應該具有一個 它所值得的故事。」 Katerina在聖彼得堡就讀設計課程,及後前往法國一個學期學 習動畫制作。「在俄羅斯的學習集中練習技巧和軟件運用,所有 作業都是為了建立技巧多於思考;在法國所有功課都是為了培養 想象力和創造力。法國的學校更沒有其他必修卻跟專業無關的科 目,讓我可以專心創作。」

She returned to St. Petersburg filled with newly acquired information and experience. She was soon hired by the biggest department store in the city as a senior designer. Since then, she received unlimited chances to work on window displays, showcase concepts, marketing materials and outdoor campaigns. “I have come a long way to find my style. I started with photorealistic illustrations but I found it was pointless because they were full of elements but no real significance. I then searched the balance between simplicity and information value. In the fashion field, I learnt to open myself up and to not be afraid of crossing borders of my conventional views and try something new.” Speaking of trying something fresh, Katerina gave herself a challenge by moving to Chengdu for a month not speaking a word of Chinese. She came to love the food, the language, customs and habits. To better understand the culture even upon returning home, she started to learn the language. The experience deeply influenced her even in terms of her works. “I am fond of face proportions of Eastern women. I think they have very harmonic faces and graceful features. In commercial illustration, the vast majority of images portray an average European woman but I want them to be more diverse. I even want to draw an ethnographic map of all female types in order to show how many of us there are and how different and beautiful we all are.”

回到聖彼得堡的Katerina磨拳擦掌預備一展身手,幸運的是, 她當時受到當地最大的百貨公司聘請為高級設計師。自此她有無 數的機會設計櫥窗,展示概念,市場推廣物料設計和室外宣傳活 動,所有的項目她都從概念到實踐的每步一一見證。 「我花了好長的時間尋找自己的風格 – 我發現像真度高的插畫 非常沒有意思,雖然充滿細節卻不具備任何重點。於是我開始琢 磨簡約風格與細節之間的平衡。在時尚界裡面,我學習到要開放 想法並不要害怕過界,破舊立新才是創新的不二法門。」 說到破舊立新,一個中文字都不會的Katerina在七年前曾經挑戰 自己在成都居住一個月。她愛上了當地的美食、語言、風俗和生 活習慣。為了更加深入了解當地文化,她回到俄羅斯之後開始學 習中文。這個居外經驗深深的影響了她的創作。 「我非常欣賞東方女性的臉部逼力。我認為她們的臉部構成非常 和諧,每個部分非常優雅。在商業插畫當中,極大部分的創作都 是描繪一般歐洲女性的形象 – 但我希望看見更多變化。我甚至 想畫一張民族地圖,表示不同地方的女性的分別,藉此表示女性 的多樣化並各種美麗風貌。」

Katerina Murysina - Oriental Beauty

Further studying Chinese culture, Katerina found further inspiration in calligraphy and hieroglyphs, discovering layers of meaning behind each character. “We live so close to each other, but we are not alike at all and we are so different. I am fascinated.” But let’s not limit Katerina’s inspiration to a single country – she is a creator who can find inspiration even in surrounding simplicity. A construction crane, for example, can resemble a dog or an old crooked house can remind her of Michael Jackson. She prefers writing down all her thoughts and ideas while keeping herself busy creating. “Never stop learning and always keep interest in the outside world. If I am interested in something, I will do my best to learn everything I can find about the subject. I always work on several projects at the same time as I realized the most convenient and fascinating regimen for me is to work, draw and create as much as possible and rest as little as possible. In this mode, the brain goes into a state where it automatically comes up with extraordinary ideas and storylines.”

進一步的研究中國文化讓Katerina更了解中國書法和字型的深層 次和意義。「我們比鄰而居,看起來卻完全不一樣。我覺得這實 在是太有趣了。」 但切勿規限Katerina的創意在一個國家 – 她能夠在任何事物中 找到靈感,例如是建築棚架看起來像狗或者是一間老舊房子讓她 想起米高積遜。她喜歡將所有點子或者想法寫下來並讓自己不停 創作。 「永遠不要停止學習並對外在世界抱著興趣。如果我對某些事物 感興趣,我會盡我所能去調查所有資料。我習慣同時做不同的項 目,因為我發現自己利用工作來讓我不停運轉之餘獲得較少的休 息。在這個狀況下我的腦袋會自動浮現很多新創意和新故事。」

Katerina Murysina - Oriental Beauty

Working as a senior designer has also been a great learning experience for Katerina as collaborating within the company is never about designers only, but other departments too. “This job helped me to develop a responsible attitude to deadlines. You cannot delay opening of new window displays. Projects always involve decorators, assemblers, other designers and constructors; I learned to manage everything and now deadlines mean a lot to me.” “Juggling” would be the right word for Katerina as she loves working on various projects simultaneously. Other than the ethnographic map mentioned above, she is going to illustrate a book about fashion illustration. She also wants to work for some filmmaking projects as she was deeply motivated by Disney movies when she was young. She wants to tell the story through character settings and design. “I want to create something that will influence people, inspire and encourage them to make our world a better place.”

高級設計師的工作讓Katerina學習到在一家公司工作並不只有設 計師,更有和其他部門的合作。「這份工作讓我了解到對於『死 線』的負責任的態度。沒有人在『死線』之後需要你的創作;你 不能夠延遲新櫥窗的開放。每個項目都有不同的部分來組成,我 學會了如何管理所有事情,『死線』對我來說非常重要。」 Katerina喜歡同時應付不同項目。除了以上所說的民族地圖,她 更在計劃出版關於時尚插畫的書;由於深受迪士尼的影響,她也 想參與動畫制作方面的項目 – 她想嘗試透過角色的設定和設計 來說故事。 「我想創造一些可以影響、啟發並鼓勵別人讓世界變得更美好的 東西。」

Lynn Theisen fashion photography

時尚攝影 A bigger piece of sky out there 更寬廣的一片天

Born and raised in Rumelange, Luxembourg, Lynn Theisen’s family was not connected to any artistic roots, yet her only interest since childhood has been photography. Starting to take photos of other people in secondary school, Lynn started to realise her career path. After graduation from high school, Lynn left her small but cosy home country for Berlin to study photography at the Berlin Technical Art School. She said it was a precious experience to her as she met a lot of inspiring creators. “Berlin is THE creative spot in Europe and a lot of creative people are trying to set their foot in the industry here. It is the right size that you can live quiet but also be in the city very quickly. It is the perfect start for building a base and finding collaboration. I learnt a lot there,” explained Lynn.

在盧森堡的呂姆朗日區出生和長大的Lynn的家 庭沒有任何藝術背景,但她從小的興趣卻只有攝 影。自從中學開始為別人拍照開始,Lynn慢慢的 感受到自己這輩子只想以攝影為業。 高中畢業後之後,Lynn離開了溫暖的家鄉並赴德 國柏林學習攝影。她說那是一次珍貴的經驗,讓 她得以認識很多具啟發性的創創作者。 Lynn說:「柏林在歐洲的創意業界劇中輕重,很 多從事創意行業的人都想在柏林立足。作為一個 城市,你可以在安靜的生活的同時又輕易到達市 中心。以這城市為事業的起步或者尋找機會真是 再好不過。」

Lynn Theisen - Ning Narawadee for Designer Chai Gold Label

Other than studying in another country, Lynn’s mother is a Thai hence she always has chances to travel to Thailand. She has realised the differences towards creativity in both continents. While Luxembourg is more conservative, Thailand is keen to take on new creative challenges and accept collaborations with other creative branches. “In Luxembourg everything is more temperate and they rather focus on a commercial photo style than on a more creative look. The city is in sort of a transition now and I think there will be more positive change in the future.” When it comes to photography, Lynn’s parents are super supportive as long as she is happy. For her, photography is her one and only passion and she is never distracted to do anything else. Lynn has worked on various projects including personal and commercial projects. Rather than complaining on the restriction given by clients, she said working on commercial projects is more convenient.

除了在別的國家學習以外,Lynn的泰裔母親給了她很多機會去 泰國旅遊。她發現不同地方有不同的創意文化:例如盧森堡在創 意方面相對保守;泰國則比較開放,容易接受新事物或跨行業創 作。 「在盧森堡所有東西都不慍不火的,拍攝的時候也會寧願選擇比 較商業的風格多於創新。但我認為這個城市正在進化當中,我很 期待有更多的正面轉變。」 對於Lynn選擇攝影,父母非常支持。對Lynn來說,攝影是她唯 一的嗜好和興趣 – 也之所以,她一開始就知道攝影將會成為她 的職業。 Lynn曾負責和參與的項目無數,當中不乏私人或企業的企劃。相 對於埋怨企業計劃的諸多掣肘,她認為那其實更加方便。

Lynn Theisen - Tanya C @ Iconic Management for Mod Magazine

“I don’t have to choose the team and only come to set and do the photographic job. It’s also nice to get in touch with a brand and see how they evolve under your work.” Fashion photography is the perfect mix of commerce and creativity and also gives a lot of creative freedom, according to Lynn. She said it is essential to give decisive instruction and direction and know when to stop a session. Photo shooting is teamwork and one has to trust the team for good photos. In her favourite project, Heading South-East, she went to Thailand and worked with a Thai team including makeup artists, stylists and fashion students. The models selection is always atypical – there are both models who fit and don’t fit

「我不需要選擇團隊的成員,只需負責拍攝。看 著一個品牌因為自己的作品而進步和改變令人十 分滿足。」 時尚攝影可謂創意和商業的最佳配搭,Lynn認為 當中有不少創作的自由。在拍攝當中,如何給予 清晰指令、方向和停止攝影非常重要。拍攝是團 體工作,團隊當中必須互相信任才能拍出好的作 品。 Lynn最喜歡的項目Heading South-East在泰國 拍攝,團隊均為泰國人,包括化妝師、造型師和 就讀時尚專業的學生,模特兒的挑選更是破格, 符合與不符合審美標準的都囊括了。

Lynn Theisen - Ning Narawadee for Designer Chai Gold Label

into the beauty standard. “This was my first big project and there was a lot of preparation before heading to Thailand. I learnt how to shoot on busy streets, in the rain and super hot climate. There were a lot of lessons learnt for me,” said Lynn. After her bachelor thesis project, Lynn then started to take up her career as a photographer and worked with a lot of big names such as McDonald’s, Leica and JACKS Beauty Department. She has shared her most important experience. “You need to know the rules in order to break them; know your basics before you start experimenting. It’s always good to have some preparation then make space for spontaneity and let the moment take over.” For Lynn, there are lots of dream projects awaiting, such as shooting a cover for Vogue Magazine or even owning a magazine. But in the long-run, she is more relaxed. “I guess travelling as much as possible would be the top goal in my career. I only want to be successful and recognised in what I do as a photographer and keep on doing what I do without being too much of a burnout workaholic.”

「這是我第一個大型項目,在前往泰國之前有非常多的準備功 夫。我學習了怎樣在繁忙的街頭、雨天或高溫情況下拍攝,實在 是獲益良多。」 完成了這個學士畢業項目,Lynn便順理成章的成為職業攝影師, 現在已經跟不少品牌合作,如麥當勞,徠卡和JACKS Beauty Department。她分享了最重要的經驗: 「要打破傳統,你必須知道所有規矩;在實驗之前要扎穩基本 功。做好準備然後基於自己空間自由發揮;讓拍攝的瞬間帶著自 己走。」 Lynn夢想可以為知名時尚雜誌VOGUE拍攝封面,或是自己創辦 一本雜誌。至於長期目標,她則比較輕鬆:「我想到處旅遊並不 斷進步自己的技術,我想成功並在自己擅長的領域裡面被認同; 在不斷進步的同時,我也不想把自己逼的太緊。」

Lynn Theisen - Tanya C @ Iconic Management for Mod Magazine

Real spirit of fashion among gods Documentary by Smrita Jain 衆神之間的時尚精神 Creating Durga photo collection by Smrita Jain most recently exhibited during the Kaleidoscope of Art & Design Conference at the Nehru Center in London, UK on September 4-5 2017

Looking at the idols high up on the altar with beautiful outfits, one could hardly imagine how much work is put to produce the clothes and the idols. Smrita Jain studied deep into Durga puja, an Indian festival, and discovered the fashion effort behind the tradition. Celebrating the 10-armed goddess Durga’s glorious return after defeating an evil named Mahishasura, the 10-day festival is similar to Christmas in the Western world. Indians worship the goddess and her fellow deities by carving sculptures and reappearing her majesty in front of the public. For such a festival, it took 4 – 5 months and families of artists. Look carefully at the sculptures; each arm of Durga has different adornments and decoration. The fashion design of Durga, meanwhile, is more flexible depending on budget set by the community or organisation that hired the artists.

看著神台上穿著美麗服飾的神像雕塑,讓人難以想象背後到底花 費了多少人力物力將之制作。Smrita Jain深入探討了傳統印度節 日杜爾迦女神節並揭開當中的時尚勞動。 為了慶祝十手女神杜爾迦擊倒名為邁索爾的惡魔並凱旋歸來,達 十天長的節日堪比西方的聖誕節。印度人崇拜女神和她周圍的神 靈,並會雕塑神像並限於人前供人膜拜。 要讓節日順利舉辦,需要四至五個月的和以家族計的手作人。仔 細觀察雕塑,杜爾迦女神的每一隻手臂都有不同的設計和飾物。 話雖如此,不同地方的女神像都會不同的服飾 – 視乎制作雕塑 的機構的預算。

Either all decoration is carved onto clay or placed on the sculptures after the production of garments. The main material used is called Shola, a plant that grows only in marshy areas near West Bengal. On top of that, traditional costume 9-yard sari with kyari shape that symbolises mother’s womb and represent the power of women giving birth to new life is essential. Everything is handmade. The most important part is to bring out the glory of Durga and her fellows, which takes extremely delicate work of artists since they have to put clothes on Durga without breaking any of her fingers (each has 50) or fragile parts. One Durga takes a few artists to finish and one artist would take a few orders. “My mother who grew up in West Bengal/Calcutta said each artist that crafts these idols gets around 15 to 20 Durga idol sets. It’s their livelihood and these families have been doing this for generations. The artists in Delhi whom I documented had about 8 to 10 idol sets,” reflected Smrita.

制作雕塑的方法也可以各有不同:要麼直接將所有 圖案雕刻在泥像上;要麼在雕塑制作完成後把另 外制作的衣服穿上。制作女神服飾的物料稱之為 Shola,為孟加拉西部特有的植物。利用Shola制 作的傳統印度服飾紗麗必須帶有稱為kyari圖案, 象征女性的子宮,代表孕育新生命的重要性。 創作雕塑,最重要的一環必然是彰顯杜爾迦女神及 同伴的光輝 – 這非常考驗手作人的功夫。試想要 為十隻手臂的女神穿上衣服並且不能弄斷任何一根 手指(每個女神像有50根手指)或任何部分!一 個女神像需要數位手作人共同完成,而一位手作人 亦會同時幫忙製作好幾個雕塑。 「我的母親在加爾各答長大,她說每位創作女神像 的手作人都會制作15至20套女神像。那是他們的 命脈,這個手作業亦會代代相傳。我記錄的這位居 住在德里的手作人也創作了8至10套雕塑。」

Just like all other festivals in the world, people will dress up during Durga puja. Dominant colours like yellow, red, gold, pink, orange and blue are popular and it was said that different colours were for different days, yet this detail bit is lost in time already. After the festival, all idols will be submerged in water as part of the festivity. Since the fabric is plant based, it is environmentally friendly to “handle” the idols in such a way and return the gift to the nature. “I want to bring focus to the artists and the craft that makes the crux of this festival. They are the image creators and I wanted to document the craft. The creative process is a celebration of its own,” said Smrita.

一如其他國家的節日,人們在杜爾迦女神節亦 有傳統服飾。主要顏色為黃色、紅色、金色、 粉紅色、橙色和藍色,在傳統上不同的日子有 規限顏色,但是時至今日已經失傳。 在節日之後,作為慶祝的一部分,所有神像將 會被沒入水中。由於布料的原料是植物,處理 神像的方法非常環保,同時將大自然的餽贈回 歸。 「在這個項目中,我想集中研究這群手作人, 他們在這節日中的角色舉足輕重,為節日的形 象帶來深遠影響。同時在制作的過程當中,人 們心裡也充滿了喜樂的氣氛。」

She faced a few challenges for the documentary: asking permission to document the creative process, photographing in “studios,” which are roadside corners covered with plastic sheets and limited light source. All photos are taken under natural light by a film camera with no post-production. Other than the cultural implication, Durga’s fashion has given meaning to peoples’ lives in India not only because the materials are environmentally friendly but the festival itself supports numerous families’ living. “These artists don’t have MFA and pick up skills from the age of 10 and work alongside their families. No one is born with skills: it’s the time, effort and environment that can help bring life to ability and artistry,” concluded Smrita.

拍攝過程當中,Smrita遇到了好幾個挑戰: 要征詢手作人的同意攝錄制作過程和在「工作 室」裡拍攝。所謂的「工作室」,其實只是在 路邊一隅用膠片搭起的小空間,Smrita使用膠 片相機,在有限的自然光下記錄過程,而所有 相片也誒有任何後期加工。 除了文化上的意義之外,杜爾迦女神的時尚精 神為印度人賦予意義:除了使用環保的物料之 外,更是撐起了無數手作人的生計。 「所有手作人都沒有受過高等教育並從小開始 就和家人一起工作,習得手藝。沒有人一生下 來就懂得所有技巧,那是透過時間、練習和環 境將藝術和文化帶到人們之間。」

Shaleihin pi’ee @ visualogue

You Found Me In Red & Blue

You laid your hands across my hips to measure my waist; your eyes were so focused on me, I’ve never had that much attention before. Shyly I allowed you to uncover my frail old body with your nimble fingers; you gingerly slid onto my skin with the designs of her majesty. My eyes started to dance across this luxurious fabric; it was the filled with the rich tones of everlasting passion and the shades of the deeper end of the ocean blue.

I was just an old lamp that was meant to be forgotten; but instead you found me, you picked me, and you recovered me in much luxury. I burn brighter each night because how you have saved me in red and blue; is how I equally want to continue my new life, serving you.

The history of ‘The Friday the 13th’ series 《十三號星期五》系列的歷史 by david madsen

The ‘Friday the 13th’ films are despised by critics and have been slashed and censored by the MPAA, but Jason Vorhees has been killing teens since the early 80’s. This article takes a closer look at the appeal of the franchise. At the beginning of Wes Cravens’ subversive slasher-film ‘Scream,’ the killer asks his victim who the killer in the original ‘Friday the 13th’ is. When she answers Jason Vorhees, the killer corrects her by saying that the actual killer is Jason’s mother, Mrs. Vorhees. It’s a spiteful, yet smart commentary on the franchise. Most people are aware of ‘Friday the 13th,’ yet because of the film’s deliberately interchangeable nature, few can actually tell them apart. Despite this, the franchise lives on in mainstream media to this day. Since October has finally had a timely Friday the 13th-date, let’s take a closer look at the appeal of the franchise. Of all of the slasher-franchises from the 1980s, none may have been as prolific or as controversial as this one. The original film was released in 1980, a year after John Carpenters ‘Halloween’ popularized the slasher-genre in America. It was directed by Sean S. Cunningham who hasn’t really made much of a note outside this film. The franchise contains a whopping ten main entries, which was made over the course of just twenty years, one remake from 2009 and one spin-off film from 2003.

即使電影系列《十三號星期五》受到眾多影評的批判、美國電影的審查和 喊停,仍然無阻傑森 • 沃爾希斯自八零年代的大開殺戒。本評論將更加 貼近觀察這系列的電影。 在衛斯 • 克萊文那顛覆性的兇殺電影《奪命狂呼》中,兇手問他的受害 者在《十三號星期五》裡面的殺人犯是誰。當她回答「傑森 • 沃爾希 斯」的時候,兇手更正她說真正的兇手是傑森的媽媽 – 沃爾希斯太太。 令人覺得可惜的是,這個答案雖不中也不遠矣。即使這系列的電影一直都 有在主流媒體上播放,很多人都因為每一部電影都相近的本質而忽略了 《十三號星期五》其實是由一套又一套的獨立電影而組成的。 有見今年10月有一個十三號的星期五,我們來看看這系列的電影吧。 在八零年代的兇殺電影當中,大概沒有一套能像這個系列那麼多產。電影 在1980年發行,剛好是在約翰 • 卡本特的《月光光心慌慌》將兇殺電影 種類普及之後的一年。《十三號星期五》由肖恩 • 庫寧漢執導,他除了 這套電影之後倒是沒有什麼特色。這個系列多產到在二十年間有十套電影 之多,另外在2009年有重制版本並在2003年有一套由其衍生的電影。

All of them places a group of ditsy, horny teenagers on a campground and then proceeds to slaughter them one by one. As ‘Scream’ implies, the ‘Friday the 13th’ film’s main killer, Jason Vorhee,s wasn’t fully introduced before the second film and he didn’t don his iconic machete and hockey mask before the third. Since then, he has been portrayed both as a hermit, a zombie and in the ninth entry as a weird alien slug. The films have often rather cynically been called a bargain-basement version of the seminal ‘Halloween.’ In truth though, the franchise has very little in common with Carpenter’s film outside of a silent, masked killer. Hell, the original ‘Friday’ didn’t even have that element. The original ‘Halloween’ was all about suspense. Michael Myers’ – the killer of the franchise – murders worked more as a set-up to the final stand-down between the virtuous main-girl (or Final Girl), Laurie (Jamie Lee Curtis) and Myers. The murders themselves are rather tame. In the ‘Friday’ films, on the other hand, the killings are the main reason to watch them. This focus places the franchise much closer to the Italian subgenre of the slasher-genre called giallo which was popular in the 70s and early 80s. These films were explicitly about the perverse fixation of the destruction of the body shown from the voyeuristic point of view of the murderer.

基本上全部電影的設定都是:一群沒有腦子但慾火焚身的年輕 人和一個露營的營地,然後一個一個的被殺掉。 從《奪命狂呼》來看,《十三號星期五》的主要殺手傑森•沃 爾希斯的角色在第二集沒有被完整介紹;在第三集錢沒有用上 象徵式的殺人凶器和曲棍球面具 – 他一直以來都是一個隱居 者、喪屍、和在第九集的外太空生物。 這系列的電影一直以來都被批評為《月光光心慌慌》的低成本 後續制作,而事實是:除了一個不講話和戴面具的殺人魔之 外,這系列根本沒什麼元素是跟卡本特的電影沒什麼共同之 處。天知道《十三號星期五》的最原始版本連這個角色都沒 有! 《月光光心慌慌》其實構築在懸疑之上 – 主要殺人犯米高• 邁亞斯的作案重點都是集中最後在清高的女主、羅莉(潔美•李•寇蒂斯)和邁亞斯之間的 最後角力,謀殺本身倒是比較俗套。 相反,在《十三號星期五》中所有兇殺案都是重點,而這個重點則讓電影更為靠近Giallo(在 七零至八零年代早期在兇殺類電影之下成型的副種類)這個分類。整個系列的電影明顯描繪 對於肢解的沉迷和由此而來的性快感。

In fact, the scenario of a machete-wielding maniac killing teens is taken whole-sale from Mario Bavas’ cultclassic ‘Bay of Blood’ from 1972. The film contains a ten-minute long segment which plays out just like a ‘Friday the 13th’ film. ‘Bay of Blood’ even has a scene, where the killer impales two lovers having sex with a spear, a killing that also appears in ‘Friday the 13th Part 2.’ It is particularly the first four films that highlight focus on the killings. The practical effects in the original and the fourth film – ironically titled ‘The Final Chapter’ – were all made by special-effects wizard Tom Savini, who also made effects for films such as ‘Maniac’ and the original ‘Dawn of the Dead.’ To this day, they are a sight to behold. In the original film, one teenager is impaled by an arrow through the throat, which is all shown on camera. Sadly, the franchise didn’t keep this high level of productionvalue up. After the massive success of the fourth entry, the American ratings board, the MPAA, started making it their goal to cut and censor the following films in the franchise as much as possible. That makes a certain amount of sense. Despite or maybe because of their R-rating, the films were clearly marketed towards teenagers. As a consequence, both ‘Part V: A New Beginning,’ ‘Part VII: The New Blood’ and the dreadful ‘Part VIII: Jason Takes Manhattan’ were all severely cut down with most of the on-screen death-scenes being removed.

事實上,拿著凶器瘋狂起舞然後屠殺年輕人的場景 很完整從1972年馬里奧•巴瓦所導演的《血之海 灘》取用 – 電影中大概整整十分鐘的一幕就彷如 《十三號星期五》一般。 在《血之海灘》有一幕是 兇手將一對正在做愛的戀人用矛同事刺穿,同樣出 現在《十三號星期五:第二部》。 系列裡面首四部都集中描寫殺人。最明顯的效果就 是首部及第四部電影(諷刺的名為《最終章》)全 都是由特效神手湯姆•沙維尼創作,他同時也是電 影《剝頭煞星》和《活死人兇間》的特效創作者。 在電影裡面,一個年輕人被箭刺穿喉嚨 – 整個場 景被完整拍攝,時至今日仍是讓人印象深刻的一 幕。 令人扼腕的是,這個系列在第四套電影的空前成功之後並不能保持水準。美國電影協會決 心將電影趕盡殺絕,雖然合乎情理,但他們也狠狠地審查了很多場景並勒令剪掉很多鏡 頭:有可能是因為電影被列為限制級,又或者是因為電影明顯以年輕人為主要消費市場。 結果,第五部、第七部和難看的要命的第八部裡面殺人及相關的場面基本全被移除。

It’s completely fair to call the ‘Friday the 13th’ franchise out for being regressive and formulaic. You could even criticize the first one for that. These are, after all, commercial films made to entertain their audience rather than subvert expectations. Yet the franchise managed to hold a decent standard through its ten-film run even as it changed studios from Paramount to New Line Pictures with the ninth film. Despite it peaking at around the fourth film, the sixth, ‘Jason Lives!’ is a surprisingly funny comedy, which plays around with genre-tropes ten years before ‘Scream’ did it, while the fifth, ‘A New Chapter’ is a glorious mess with plenty of fun characters. Its sequels at least didn’t follow the downward spiral of both ‘Halloween’ and ‘A Nightmare on Elmstreet’ sequels did. And it led to plenty of great films which ripped off the franchise, namely ‘Sleepaway Camp’ and ‘My Bloody Valentine.’ So overall, the existence of the ‘Friday the 13th’ films are a net positive in my book. Just avoid the awful remake.

將《十三號星期五》這個系列評為「倒退」和「流 於形式」基本上是公正的,您甚至可以同樣的評價 第一部。說到底,這些都是用來娛樂觀眾的商業電 影,並沒有花心思去回應坊間的期待。 即使電影的發行商在第九部電影從Paramount轉 到New Line Pictures,整個系列的水平還是可以 接受的。 雖然第四部和第六部利用電影老是常出現的象徵變 成了讓人驚喜的喜劇,甚至比《奪命狂呼》先進了 十年,第五部確實華麗麗的亂七八糟,並衍生了很 多搞笑的角色。 《十三號星期五》整個系列好在沒有像《月光光心 慌慌》和《猛鬼街》一樣越做越爛,更好的消息是 很多好電影例如《血腥死亡營》和《血腥情人節》 。總的來說,我還是覺得《十三號星期五》是值得 推薦的。 至於重辦版,我建議您還是別看了。

The ‘Friday the 13th’ films ranked from best to worst:

以下是《十三號星期五》的排行榜(由最好 到最爛): 1: Friday the 13th (1980) 2: Friday the 13th: The Final Chapter 3: Jason Lives! Friday the 13th Part VI 4: Friday the 13th Part 2 5: Jason X 6: Friday the 13th Part V: A New Beginning 7: Friday the 13th Part VII: The New Blood 8: Jason Goes to Hell: The Final Friday 9: Friday the 13th Part III 3D 10: Friday the 13th Part VIII: Jason Takes Manhattan

Subscribe to our newsletter to receive news of creators around the world:

Garde Magazine #34  
Garde Magazine #34  

Fashion-oriented creators in photography and illustration, documentary on Indian culture and poem touches your soul. Also movie review on Fr...