With the final shot of a film, this piece ponders questions about the true nature of visual representation – is it visualization of what we wish for, or is it the one last image that we see before we meet our ends. I selected a collection of films whose final scenes feature views of natural attractions and made snapshots of these scenes as if I was photographing the scenery. What makes these snapshots different from conventional scenery photography is that all of them are computer-generated, black-and-white images which, I presume, are similar to the last thing one sees before death. I created a fictional character, a medium named Moovie Rinpoche who was seemingly able to project a person's will onto a photograph just before the person's death. From the angles I take, we can see the altitude at which the soul flies as well as the bird's eye views of the landscape. The images signal the parting of the soul from the body, while at the same time they can also serve as the metaphor for the last things that flash before one's eyes. After seeing a film, although most of us would remember how the story ends, we can rarely recount the final scene. It can be suggested that the film can be understood as visualization of human memories. The only difference is that these images can be saved and retrieved like an ordinary object, and my job is to raise questions about what these images – particularly those “final scenes” - are trying to tell us. And my answer to this question is that perhaps they represent what we long for at the point of death. (Wang Ting-Yu)