共114个镜头，该分镜由光厂AI自动生成
| 镜号 | 景别 | 参考图 | 画面内容 | 台词/旁白 | 时长(秒) |
|---|---|---|---|---|---|
| 1 | 其他 |  | 纯黑背景中心显示由白色细线框包围的“art21”白色文字标识。 | 1.07 | |
| 2 | 远景 |  | 一名身穿浅色衬衫和深色长裤的男士背对镜头，沿着绿意盎然的河边草地向树林深处走去。 | 6.93 | |
| 3 | 全景 |  | 乔伊里·米纳亚身穿白衬衫和黑裤背对镜头，沿着清澈小溪缓缓行走，前方有白牛在溪边活动。 | Place is important in my work. | 6.93 |
| 4 | 全景 |  | 乔伊里·米纳亚赤脚走在浅水溪流中，从画面左侧缓缓走向右侧，低头看着水面。 | Coming from a place that is determined in other people's imagination. | 6.27 |
| 5 | 中景 |  | 乔伊里·米纳亚双手插兜站在绿色植被前，神情凝重，微微转头看向侧方。 | 2.97 | |
| 6 | 全景 |  | 乔伊里·米纳亚站在小溪边草地上，面对镜头神情严肃，阳光透过树叶洒下。 | I'm interested in the idea of opacity, | 3.57 |
| 7 | 全景 |  | 乔伊里·米纳亚站在露天二手服装市场中央，周围堆满旧衣服，她微微转头看向侧方。 | a right to remain opaque, | 4.60 |
| 8 | 全景 |  | 乔伊里·米纳亚神情严肃地站在露天水果摊前，两名男子坐在摊旁交谈。 | even to yourself, even things that you may not understand about yourself, | 3.90 |
| 9 | 全景 |  | 乔伊里·米纳亚站在一扇带有“1523”和“1992”金属牌的铁艺大门前，阳光洒在地面上。 | and being at peace with that, | 3.73 |
| 10 | 近景 |  | 乔伊里·米纳亚站在金属栅栏前，先看侧方后转头正视镜头，表情平静。 | and not having to explain yourself to others. | 4.43 |
| 11 | 全景 |  | 乔伊里·米纳亚右手叉腰站在沙滩上，起初看右侧随后缓缓转头正视镜头，背景是海面。 | I think the way it manifests in my work is through | 3.67 |
| 12 | 特写 |  | 俯视视角下的沙滩，白色的海浪从上方翻滚冲向沙滩并铺满画面。 | all these layers that I'm playing with, | 2.73 |
| 13 | 中景 |  | 淡黄色颗粒底纹上，一对男女户外合影照片被叠加了灰白透明方格纹理。 | 1.63 | |
| 14 | 多景别 |  长镜头 | 三栏排版展示拼贴画与实景图。最右是融合多元素的女性拼贴画，中左栏展示红白格纹理与海边迷彩人像交替出现。 | particularly as it relates to the idea of camouflage, because I think it's some type of opacity in a visual way. Camouflage is this | 10.93 |
| 15 | 近景 |  | 乔伊里·米纳亚面部近景，表情严肃平静，背景是模糊的蓝色海面。 | survival strategy in the natural world. | 3.10 |
| 16 | 全景 |  | 乔伊里·米纳亚独自站在海边沙滩上面对镜头，表情淡然，海面平静。 | 1.63 | |
| 17 | 中景 |  | 乔伊里·米纳亚站在挂满画作的工作室内，右手拿着白色纸杯喝饮料。 | As we navigate society, this idea of blending in or | 3.67 |
| 18 | 近景 |  | 乔伊里·米纳亚在模糊的室内背景前说话，眼神偏向左方。 | being visible and having control of that, | 2.53 |
| 19 | 近景 |  | 乔伊里·米纳亚坐在挂有摄影作品的背景前访谈，神情认真。 | I think is a tool for liberation in a way. | 2.67 |
| 20 | 近景 |  | 乔伊里·米纳亚侧对镜头注视左前方说话，背景带有模糊色块。 | 2.23 | |
| 21 | 全景 |  | 画面快速扫过街道两侧色彩斑斓的公寓楼外墙，阳光斜射形成明暗对比。 | 1.13 | |
| 22 | 远景 |  | 黄昏时分的纽约天际线，帝国大厦位于画面中心，天空有柔和晚霞。 | 1.03 | |
| 23 | 全景 |  | 乔伊里·米纳亚穿着荧光绿羽绒服在户外街道转身走开，屏幕显示巨大的白色标题字卡。 | 5.90 | |
| 24 | 中景 |  | 在挂满艺术画作的工作室内，乔伊里·米纳亚背对窗户脱掉荧光绿羽绒服。 | My name is Joiri Minaya. I'm a multi-disciplinary visual artist based in New York, from the | 8.60 |
| 25 | 近景 |  | 乔伊里·米纳亚坐在贴有海报的工作台前说话，身边有堆放的书籍。 | Dominican Republic. | 2.87 |
| 26 | 特写 |  | 乔伊里·米纳亚面带微笑歪头看向镜头方向说话，神情轻松。 | What else do I say? My pronouns are she/her. | 5.03 |
| 27 | 中景 |  | 深绿色椰子树叶在浅蓝天空中呈现剪影效果，静止或有微小晃动。 | 0.67 | |
| 28 | 全景 |  | 带植物叶片边框的画面中，冬日雪地里的玻璃温室映出浓密的热带植物。 | I've been interested in | 2.90 |
| 29 | 中景 |  | 长方形画幅中展示身穿绿色植物图案紧身衣的人在调整衣物，背景为抽象图案。 | patterns as a metaphor for | 2.53 |
| 30 | 中景 |  | 正方形画幅中呈现被热带植物叶片图案覆盖的超现实人物肖像，背景是棕榈叶与椰树剪影。 | society, how people repeat and embody these patterns. | 2.40 |
| 31 | 近景 |  | 乔伊里·米纳亚侧身坐着专注沉思，随后闭上眼睛，背景模糊有书架。 | 1.53 | |
| 32 | 远景 |  | 明亮极简画廊内，乔伊里·米纳亚背对镜头横抱折叠桌向左行走。 | 3.30 | |
| 33 | 全景 |  | 浅褐色桌上整齐摆放着各种白色塑料容器、电子秤等实验器材和化学材料。 | 1.30 | |
| 34 | 中景 |  | 乔伊里·米纳亚在工作室手持蓝色滚刷在白色画布或墙面上涂抹创作。 | 2.00 | |
| 35 | 特写 |  | 戴透明手套的手用画笔蘸取各色小杯子中的颜料，在画布上涂抹蓝色区域。 | Siwonai is about labor | 2.90 |
| 36 | 特写 |  | 一只手用画笔在黑底画布上为浅紫色花朵涂色，周围有红花绿叶。 | and unpacking the | 2.80 |
| 37 | 远景 |  | 一名男子背对镜头坐在椅子上，正对黑底热带植物花卉墙进行绘画修补。 | laboriousness behind the facade of tropical packaging and | 5.40 |
| 38 | 全景 |  | 乔伊里·米纳亚坐在印有棕榈叶的深蓝墙前，手持滚刷，随后转头冷峻注视镜头。 | thinking of women's role in this packaging. | 5.37 |
| 39 | 远景 |  | 短发人物背对镜头跪坐在画廊的黑底红花热带植物壁画前，似乎在修补创作。 | 2.47 | |
| 40 | 全景 |  | 身穿印花裙的年轻女性在红花绿叶印花墙前停步摆姿势，画面叠加水波纹特效。 | 2.17 | |
| 41 | 全景 |  | 背部沾满油彩的舞者在花卉背景墙前舞动双臂，动作充满力量感。 | 1.63 | |
| 42 | 全景 |  | 短发女子从植物印花墙前向左快速跑过，身体带有半透明重影动效。 | 0.90 | |
| 43 | 全景 |  | 黑人女性穿印花短裙走向色彩鲜艳的热带花卉背景墙并停下脚步。 | 1.53 | |
| 44 | 全景 |  | 穿着迷彩短裙的女子在花卉壁画前双手抱头缓慢蹲下，身体似融入背景。 | There's | 5.83 |
| 45 | 特写 |  | 乔伊里·米纳亚侧向注视前方专注说话，背景模糊。 | an interesting process that happens when you see an image | 2.60 |
| 46 | 中景 |  | 镜头上移展示白墙上悬挂的多幅热带风情与女性结合的拼贴画及肖像画。 | that you don't necessarily have language for immediately. | 5.57 |
| 47 | 中景 |  | 金属货架上堆放花卉图案布料，侧面贴着带有英文大写单词的白纸。 | 2.13 | |
| 48 | 全景 |  | 乔伊里·米纳亚背对镜头在堆满布料和缝纫机的工作桌前俯身整理，墙上有艺术画。 | I'm interested in how an image | 2.40 |
| 49 | 特写 |  | 一只手握黑笔在平铺于杂乱工作台的浅灰布料上勾勒设计图并按压。 | has the power to transmit a lot | 3.33 |
| 50 | 中景 |  | 乔伊里·米纳亚在稍显杂乱的工作室中操作白色家用缝纫机缝制碎布料。 | in a very short time. But then | 1.80 |
| 51 | 特写 |  | 特写乔伊里·米纳亚的手引导深蓝色布料通过缝纫机压脚，背景有织物堆。 | how you can spend a longer time with that image | 2.27 |
| 52 | 近景 |  | 室内某人对着镜子将绿底白色鸡蛋花图案的头套戴在头上并整理。 | and unpack all of these other things. | 4.17 |
| 53 | 特写 |  | 穿着全包绿色植物图案紧身衣的人物站在镜头前，背景有多幅画作及另一彩衣人。 | 4.03 | |
| 54 | 特写 |  | 叠加了红花绿叶和几何色块等纸张拼贴元素的手臂特写画面。 | The container | 2.00 |
| 55 | 中景 |  | 明亮室内悬挂排列着不规则形状、带有肤色和竹叶布料纹理的立体拼贴切片。 | series developed from the collages that I | 3.43 |
| 56 | 特写 |  | 拼贴艺术局部，展示带有热带花卉和豹纹的类肢体片段，背景可见窗户。 | did initially for the Dominican Women Google search series. | 3.53 |
| 57 | 全景 |  | 多窗室内悬挂由人体、植物及布料构成的解构人体形态拼贴装置。 | I started saving the images that I found | 2.80 |
| 58 | 全景 |  | Google搜索“dominican women”显示多米尼加海滩比基尼女性库存照片列表。 | on the Google search and classifying them by the way they were | 4.00 |
| 59 | 中景 |  | 乔伊里·米纳亚坐在贴满画作书房中对着镜头专注讲述。 | posting, because I thought there were some patterns, | 3.90 |
| 60 | 特写 |  | 乔伊里·米纳亚侧脸对着镜头专注说话并露出微笑。 | or maybe I'm just fixated on patterns, but I thought there was a pattern | 4.10 |
| 61 | 远景 |  | 竖屏画中画内，穿印花全身紧身衣者在沙滩双手抱头背立，两侧为蓝天。 | in the way that women posed for the cameras. Like there was a lot of | 3.03 |
| 62 | 全景 |  | 矩形框内展示穿条纹全包衣的模特侧躺在沙滩，周围白浪翻滚。 | like arms akimbo and like a lot of like | 3.23 |
| 63 | 全景 |  | 穿花卉全包衣者侧躺于草地和绣球花丛中，身体图案与环境高度融合。 | orlicque esque poses of women lying on the beach. And I started re- | 4.93 |
| 64 | 特写 |  | 乔伊里·米纳亚面带微笑侧坐着对画外人说话。 | recognizing how some of those are things that I did myself. | 5.07 |
| 65 | 近景 |  长镜头 | 镜头从腰部上移至穿棕榈叶全包紧身衣者仅露双眼的头部，人物微俯身。 | I started Soul Embody suits that forced me to em- | 10.73 |
| 66 | 全景 |  | 穿花卉全包衣者在修剪整齐的绿植墙前一手叉腰一手扶脑后摆姿势。 | body these poses as an exploration | 3.50 |
| 67 | 中景 |  | 穿棕榈叶紧身衣的表演者坐在阳光斑驳的公园长椅上。 | for myself, but also to quest- | 1.60 |
| 68 | 中景 |  | 穿棕榈叶全包衣者在公园小径上弓腰扶膝对着镜头扭动臀部。 | and this type of performativity. Because | 1.83 |
| 69 | 远景 |  | 多名游客在公园中举手机拍摄前方铺有蓝花纹布及观赏草的区域。 | you initially recognize it | 1.60 |
| 70 | 全景 |  | 穿蓝花迷彩紧身衣者侧卧在户外草丛植物前静止，融入环境。 | very quickly, but then | 1.73 |
| 71 | 中景 |  | 穿条纹全包衣的人坐在植物前，头部仅眼部开口处可见内部，轻微晃动。 | there's the weirdness of this person being fully | 2.03 |
| 72 | 全景 |  | 穿条纹全包衣者在公园石地上侧卧撑起上身，旁边有粉衣女性与其互动。 | encased. | 1.43 |
| 73 | 中景 |  | 乔伊里·米纳亚坐在阳光长椅上，揭下包裹头部的绿叶布露出黑卷发甩动。 | 2.73 | |
| 74 | 全景 |  | 室外简陋水果摊前摊贩在整理瓜果，行人、工人及摩托车穿行。 | I grew up in the city of Santo Domingo, which is full of concrete and notoriously lacking public parks. | 8.97 |
| 75 | 中景 |  | 乔伊里·米纳亚站在阳光斑驳的茂密森林前，环顾四周后低头沉思。 | I really appreciate nature when I can access | 4.17 |
| 76 | 全景 |  | 乔伊里·米纳亚背对镜头在晚霞海边沙滩缓慢散步。 | it. At the same time I'm aware of | 2.47 |
| 77 | 近景 |  | 乔伊里·米纳亚侧身站立于沙滩平静望向虚化的蔚蓝海面远方。 | my possible | 1.87 |
| 78 | 中景 |  | 乔伊里·米纳亚坐在贴满艺术海报的工作室书桌前专注对着镜头谈话。 | probable romanticization | 2.37 |
| 79 | 远景 |  | 镜头沿积云密布蓝天下的乡间土路向前推进，两侧仙人掌与灌木掠过。 | of nature. | 2.47 |
| 80 | 远景 |  | 戴草帽男子背对着镜头在植被稀疏的红色岩石荒原上徒步。 | When I go back to the region where my family is from, | 3.60 |
| 81 | 中景 |  | 两名挎包女性在户外林荫地并排站立，愉悦地望向斜上方树木。 | I'm really excited about this nature, but then | 3.13 |
| 82 | 中景 |  | 乔伊里·米纳亚在贴有装饰画的书房桌前接受采访，伴有微小表情动作。 | My mom is like, 'Well growing up we were really concerned about parasites and like, | 4.90 |
| 83 | 远景 |  | 丛林边缘阳光斑驳的溪边草地上，一头白水牛背对镜头站立。 | the heat is really awful and you can | 2.97 |
| 84 | 远景 |  | 前景茂密森林点缀橙红花丛，远景重峦叠嶂笼罩在多云天空下。 | be raped in the dark.' So there's all of this fears and | 3.23 |
| 85 | 远景 |  | 波光粼粼的水面呈现大面积失焦虚化效果，闪烁柔和光斑氛围神秘。 | dangers of nature which are very real. | 4.67 |
| 86 | 特写 |  | 低角度跟拍人物赤足走在起伏的细沙滩上。 | 2.00 | |
| 87 | 特写 |  | 穿黑裤凉鞋的人走在布满绿植枯叶的山路特写。 | Site specificity | 2.30 |
| 88 | 特写 |  | 穿凉鞋行走在红褐色地砖路面的脚步特写，留下长长光影。 | and the | 1.60 |
| 89 | 近景 |  | 乔伊里·米纳亚穿条纹衫背对镜头在虚化明亮的街道上行走。 | history that a place has has been important, specifically | 4.20 |
| 90 | 全景 |  | 晴朗广场中央矗立着哥伦布青铜雕像，周围群鸽飞走，有游客在观赏。 | with the works where I'm making new patterns in response to the patterns that I have been appro- | 5.33 |
| 91 | 特写 |  快速剪辑 | 快剪展示多款带有红花、游轮等热带海岛风情的印花短袖衬衫局部。 | priating. | 2.13 |
| 92 | 全景 |  | 白墙木框中陈列着六件图案与画框底纹融合的热带风情拼贴衬衫。 | 2.07 | |
| 93 | 中景 |  | 轮播展示包含碎花、宽叶与对称果实等多种图案在内的植物插画组合。 | I've been designing patterns that look tropical and are playing with the visual language of botanical | 6.77 |
| 94 | 中景 |  | 古朴复古插画中红白郁金香底部绘有褐色蝴蝶和绿色蝗虫。 | illustration. | 1.00 |
| 95 | 特写 |  | 复古发黄纸张上手绘粉红色花卉与深色浆果植物科学图谱。 | 1.13 | |
| 96 | 中景 |  | 故纸背景上有一株淡紫色花朵带锯齿叶植物插画及一只小虫。 | 1.03 | |
| 97 | 中景 |  | 乔伊里·米纳亚在户外轻拨观察一丛高大干枯的星状花序植物。 | But looking at plants that were | 2.60 |
| 98 | 远景 |  | 远景薄雾绿山前，近处是棕榈等繁茂热带植物及带花树木。 | used by people | 1.60 |
| 99 | 近景 |  | 阳光斑驳的树林中乔伊里·米纳亚背对镜头站立。 | who resisted colonial processes | 2.27 |
| 100 | 多景别 |  | 背影画中画展示手部正剥开长软刺圆形果实露出红色果肉。 | through the use of these plants. So some plants have been | 4.17 |
| 101 | 特写 |  | 插画特写绘有淡紫花苞及开裂露出暗红种子的红色毛茸茸果实枝条。 | used to make weapons, some | 1.87 |
| 102 | 特写 |  | 白底画纸并列呈现绿叶和带亮黄色火焰纹理的深褐枯叶。 | times have been used to make poison. Some | 1.87 |
| 103 | 特写 |  | 乔伊里·米纳亚在明亮书桌前专注用笔蘸取水彩调色盘上暖色颜料。 | times these plants are used to speak to your ancestors. | 3.83 |
| 104 | 近景 |  | 乔伊里·米纳亚在画室专注看着画有网格图案的画板。 | So I'm interested in all of these different systems of resistance | 4.37 |
| 105 | 特写 |  | 手握细长红笔在白纸仔细画花朵，电脑旁放装水玻璃瓶。 | through these plants. The main way that I've showcased | 7.33 |
| 106 | 中景 |  | 室内墙明白墙并排贴雕像黑白照，左侧是红底紫花织物。 | this is printing them on fabric that is | 3.10 |
| 107 | 中景 |  | 蓝天下一深色人形雕像指远方，鸽子停上面。 | then used to cover | 2.17 |
| 108 | 全景 |  | 广场中心哥伦布雕像随后被巨大红色印花布斗篷包裹在蓝天下。 | colonizer statues. | 5.53 |
| 109 | 远景 |  | 被绿底花卉布料包裹的雕塑立于圆柱基座，背后蓝天白云。 | I'm thinking of a way to resignify that pub- | 6.43 |
| 110 | 近景 |  | 乔伊里·米纳亚模糊室内专注访谈近景。 | lic space that is used to commemorate colonial history and instead trying to commemorate the people who resisted colonialism, | 9.13 |
| 111 | 全景 |  | 乔伊里·米纳亚在杂乱喧闹的露天二手衣物摊中神情严肃四望。 | who don't have a statue. Just thinking of public space as this space | 6.57 |
| 112 | 近景 |  | 乔伊里·米纳亚在暗光室倾斜身子专注认真讲述着。 | that's supposed to be democratic, but then of course there's like forces that determine what is more significant and what is left | 8.07 |
| 113 | 全景 |  | 乔伊里·米纳亚双手叉腰站海滩露出微笑，背后广阔海面。 | out. So I'm trying to tell the stories that remain untold. | 6.37 |
| 114 | 全景 |  | 落日余晖中乔伊里·米纳亚走向镜头，左上方中心滚动职员表。 | 6.73 |