以下是一段Brother Quay的偶動畫，Stille Nacht V - Dog Door。(Still Nacht是德文Silent night的意思，翻譯成中文是：平安夜第五篇→狗洞)
1984年Brother Quay的成名作，「The Cabinet of Jan Svankmajer」以知名捷克動畫大師Jan Svankmajer為名的14分鐘鉅作，至於Jan Svankmajer的偶動畫與真人偶動畫有多神，我在本章最後會貼上兩段他的影片。
短片研究：The Cabinet of Jan Svankmajer(我原本想貼上原片，但是youtube上的影片連結已經不見了，但是我找到了2006他們兩兄弟的專訪，和我以下的專訪其實蠻類似的，而且有許多新的說明內容，請各位同學參考，他們講話的部分不要跳過，因為會穿插一些動畫製作過程的片段) Brother Quay訪談: Author: Ryan Deussing --- Date: 02/09/96 --- Copyright: ThingReviews NYC Film Forum
中文翻譯：Wesley Chen
Ryan Deussing: You both went to Art School--first in Philadelphia and then in England--and wound up working as animators. Is that what you planned on all along?
Brothers Quay: We started off as illustrators, drawers, and it was because we became frustrated by the stillness of that image, the lack of sound, of depth, of music, we figured there had to be another way to go. We managed in school to do some 2D, cut-out animation shorts, but we were frustrated by that as well--we wanted the third dimension.
RD: What draws you to the literary sources which serve as inspiration for your films? They all seem to be drawn from the eastern European/Germanic vein, such as ?don von Horv?rth, from whom the title TALES FROM THE VIENNA WOODS is borrowed, or Bruno Schultz, whose writings were your starting point for STREET OF CROCODILES, and of course Robert Walser, whose novel JAKOB VON GUNTEN inspired your lates film, INSTITUTE BENJAMENTA.
Ryan Deussing： 你們是如何挑選出一些文學素材來激發出你們作品的創作靈感，尤其是這些題材似乎都蘊含著東歐及日耳曼民族文學風味的元素，如你們的動畫短片「TALES FROM THE VIENNA WOODS 」片名就是取材自Odon von Horvarth(圖二)的一部劇本名稱 (二次大戰奧地利名劇作家1901-1938，一生非常恐懼打雷，在37歲時死於一廠在暴風雨中被樹枝擊中的意外)， 另外還有Bruno Schultz (波蘭籍猶太裔小說家、畫家1892-1942，被認為是20世紀最偉大的波蘭散文作家，死於二次大戰德國秘密警察槍下) 的小說情節內容也被用於動畫短片「STREET OF CROCODILES」的開頭，當然還有Robert Walser (圖三)(德國現代主義小說家、詩人1878-1956，擅用荒誕語言來營造：浪漫主義、哲理、詼諧，他有嚴重的精神分裂症，1929年後幾乎都在療養院度過，在一場大雪後的清晨他外出散步，死於心臟病突發，他倒臥於雪中的型態，正如他寫的第一本小說主人翁死亡的場景一模一樣) 對你們最新的作品Institute Benjamenta的創作發想也有著明顯的痕跡。
圖三，上圖為德國小說家Robert Walser BQ: For one the whole universe of the puppet is an eastern European artform, one which really doesn't exist in America, and once we became aware of the region in which European puppetry was developed and refined, we were attracted to the literature which surrounded it. This process led us of course to central European literature and music, although that's not to say it's our only obsession. But the real turning point for us was coming across the diaries of Franz Kafka, because what he left out of the stories, we found in his diary: these half-fragments, things that were unbelievably evocative, so that Kafka really led us in to central Europe. And of course Kafka adored Walser's writing.
RD: Your films are also reminiscent of early German silent cinema. Is it safe to assume that German Expressionist and Weimar film has had a big influence on your style?
Ryan Deussing：你們的作品同樣的顯示出早期德國的無聲電影，我們是否可以由此推斷德國的表現主義藝術家與「威瑪電影」 (1918-1933年德國共和時期的電影製作風格，極具表現主義風格)也對你們的風格有著巨大的影響？
BQ: I know why people are prone to say that, because our animation draws heavily on a very sophisticated visual language--a certain quality of lighting and decor, of stylized movement--which has a lot to do with Expressionism. But at the same time one could talk Keaton, or early Swedish or Danish cinema, all of which are crucial for us. The essential influence is that of a visual aesthetic which doesn't rely upon dialogue.
BQ: Well Walser's book, which was our foundation, is actually not an expressionist work, it has nothing to do with it, and the relation to CAREFUL is purely fortuitous. We had never seen the film when we got started shooting, and he had never read the book. Somehow we do share the same iconography, however. We know Guy and have written each other various letters, but he's got a sense of humor compared to us.
RD: You mentioned music as another thing you culled from central Europe. It plays a big role in all of your animation, and BENJAMENTA is no exception. Do you begin working with a score already at hand?
Ryan Deussing：你們也提到音樂也是另一個你們取材自歐洲的元素，音樂在你們所有的偶動畫影片中扮演了重要的角色，當然Institute Benjamenta也不例外，你們是先有了音樂再按照節奏來拍攝你們的動畫嗎？
BQ: Absolutely. Only once in our life have we had the music done in post-production, for a commercial. We rely on music to propose certain things we would have never foreseen. For us music is the bloodstream and like any choreographer we compose our visual narrative through music--it almost co-writes the scenario. We'd like to achieve a musicalization of space, and would prefer our work to follow musical law rather than a dramaturgical one.
RD: You've described your move from stop-motion animation to live action filmmaking as analogous to a composer moving from chamber pieces to a symphony.
Ryan Deussing：你們曾經描述你們從「停格動畫」到寫實片的拍攝，就像是從一個室內樂作曲家轉變成交響樂作曲家一樣。
BQ: Well it was a giant step for us, but we felt we were quite ready. I mean Christ, we're fourty-eight years old. Bertolucci shot his first feature when he was twenty-one or so, which makes us appear slightly retarded. In a sense we've got to make up for lost time.
Brothers Quay：哈哈，其實對我們而言拍寫實片是一個很大的突破，但是我們認為已經準備好了，我的意思是：天哪，我倆都已經48歲啦，貝托路齊 (義大利名導演，曾執導1987末代皇帝the Last Emperor) 在21歲的時候就拍了他的第一部寫實劇情片，跟他比起來，我們看來實在是有點白痴，所以現在要抓緊時間來趕上嘍。
RD: What is it about the term "surreal" that you object to, when used in reference to your films? Ryan Deussing： 「超寫實」這個描述如果用在你們的作品介紹上，你們作何感想？
BQ: Our fear is that the term is mis-used. Of course we are familiar with surrealism, we know its history and its place, but the term can too often be used in a cavalier way, without acknowledgement of its real meaning. Like, "Oh, that's cool, that's surreal." When it's used cautiously and intelligently it can be a very descriptive term, but we're weary of it's over-use. At this rate every housewife is a surrealist.
RD: You've said that you are "Europeans by choice", although you were born in Philadelphia. Do you think it would be possible for you to make your kind of films in America?
Ryan Deussing：雖然你們出生於美國費城，但你們曾說自己是「選擇做的歐洲人」，你們認為在美國有可能拍出類似兩位作品類型的影片嗎？
BQ: It would be totally impossible for us to have done what we've done in America. American companies might buy our films, but we work on commission, and the European commissioning bodies are much more open and receptive of our ideas. Our puppetry may well be relegated to the perimeter, but at least it's allowed to exist. Channel Four goes so far as to treat animation as an artform and to set aside a whole budget for it's production. Sadly I don't think that could ever happen here.
RD: I was surprised to find that you were participating in the DIGITALE festival last year in Cologne, which focuses on digital media and celebrates computer-aided filmmaking. Your work is very much of the old-school, even if you did use a bit of digital tomfoolery in BENJAMENTA.
Ryan Deussing：我非常的驚訝你們竟然會參加去年在德國科隆所舉辦的「數位故事」展，那是一個著重在數位媒體應用、電腦輔助攝影、後製等技術應用於電影工業的展覽會；你們的東西其實是非常傳統的，雖然你們這次也用了一些些數位技巧在Institute Benjamenta裡。
BQ: Well, the man who runs DIGITALE is a friend of ours, and I think the reason we were included in the program at the last minute was because he's interested in the alchemical quality of our films. We were sort of a counterweight to the rest of the festival, because our films contain a form of combustion that lies right beyond the realm of digital effects. It was as if to say, "You can work wonders with a computer, but can you do this?"
RD: I'm sure people are always asking you about your decision to work together. It's uncommon for twins to stick by each others side, much less for them to work together in the same field.
Ryan Deussing：我知道大家一定持續的問你們為什麼一直是一起創作，對於雙胞胎而言選擇同樣的工作與創作領域，而且總是不論生活、工作都窩在一起實在有些怪異。
BQ: For us it's invisible, we don't even notice it. You're only reminded that you're a twin when you walk down the street together and people stare at you. Actually, we passed two old women today, identical twins, probably in their seventies, and immediately we thought "Jesus, will we look that bad when we get old?", "Why don't they just part?", and we had to admit that they were slightly freaks. People of course expect us, as well, to eventually part and to become normal people, to have an individual life, but we find that being twins insulates us quite nicely from the demands of reality.
It's time to review the selections you've made before your account is created. This is your chance to catch any mistakes in your sites's url or in your email address. Press the 'NEXT' button when you are ready. URL: http://www.nacotization.blogspot.com Site Name: 2006 Digital Media Performing Arts Email Address: wesleychen@metaspots.com Codename: s27wesleychen
I bought the number 16 today, i made my mind to not to finish this one that fast, cause it is a little bit expensive. 今天看到張大春和劉大任的新書。 實地勘察?公圳，花了一些時間，約6個工作日。 太多肉食，使人醉意盎然。共計有豬頭骨肉、以及牛腱若干。 今天在迪化街吃綠豆杏仁時突然暴雨傾盆，可淋得美極了。 nacotization1點blogspot點com 如果有求知欲求不足，可以去此連結用功一下。 for some people it is the other kind of fun, which is a place after narcotizing but missing a ‘r’. hope it will be a good day tomorrow, cause bicycle
在公館舊書店躲雨，順便看書。然後買了Kerouac的on the road,以前看了中文版，嚮往又感動；不過英文版的結果一定是看頭看尾然後中間隨便翻翻就扔在一旁。 1922-1969只活了47歲，當然以他的生活模式，47歲算是不錯了。同樣是法裔美人的大廚師tony bourdain寫的書就不這麼壓抑了，雖說是描寫廚師的心路歷程，但那種青年到壯年間的束縛與掙扎卻很類似。感覺上一個人破繭而出而另一個人則被無止盡的苦悶與自我詰問而埋葬。但是Kerouac的哲理思維要比bourdain的笑罵人世深刻多了。商務的書真的都水平很好。 後天週五，詹姆士與我即將展開單車英雄會，我估計到社子島中國海專的上坡將他生理與心理的競爭強度一舉擊潰。 運動、海外時事、藝術評論的綜合題材可有點難搞，會花不少時間，還有拍片計劃和一大堆剪報要整理，oh,i will have a great summer。 路上總是看到美女，令人心動，感覺幸運。
11. 請問下圖，站在愛迪生旁邊的老先生是誰(2分)？
12. 請問1895年盧米葉兄弟在歐洲的哪一座城市，首度放映有史以來第一部公開上映的電影，而造成了莫大的轟動(2分)？ 
5. 參考第十一課的問題回覆之中，我曾經提到過哪一位已逝的台灣布袋戲大師曾經將布袋戲的傳統技藝傳授給許多外國徒弟，進而對於傳統表演藝術有了世界性的交流，請回答這位布袋戲大師是誰？ (2分)。
