观影手册 ∣ CATALOGUE
杭州亚洲青年电影节
目录 CONTENTS 03 04 06 08
影展地图与票务｜ Festival Map and Ticket Service 为了明年的观众而坚持｜ Persistence for the Audience Next Year 总体介绍：望见一个幸福的影展｜ Intro: Foresee A Film Festival With Happiness 排片表｜ Screening Schedule
10 12 13 17
“亚洲之光”青年短片竞赛单元｜ SHINE ASIA Shorts Competition 单元综述｜ Program Introduction 评审简介｜ Jury Members 影片信息｜ Film Information
32 34 35
CIFVF: 民间映画单元｜ CIFVF: Chinese Indie Fresh 单元综述｜ Program Introduction 影片信息｜ Film Information
52 54 55
MIDA: 亚洲新视野单元｜ MIDA: Asia New Force 单元综述｜ Program Introduction 影片信息｜ Film Information
60 62 63
台湾电影新新浪潮单元｜ Taiwan New New Wave Cinema 单元综述｜ Program Introduction 影片信息｜ Film Information
70 72 73
HKAPA 精选放映单元｜ HKAPA Selections 单元综述｜ Program Introduction 影片信息｜ Film Information
80 82 83
渐显：中国 85 后作者单元｜ Fade in: Chinese Post-1985 Directors 单元综述｜ Program Introduction 影片信息｜ Film Information
88 90 91 94 106
CIFVF-HAFF 青年电影训练营｜ CIFVF-HAFF Campus 教学总监的话：艺术行动主义｜ Words of Education Director: On Artivism 导师简介｜ Mentors 学员简介｜ Trainees 教学简介｜ Syllabus
108 109 110 111
亚洲短片创作讨论会｜ Asian Shorts Creation Seminar “亚洲之光”颁奖派对｜ SHINE ASIA Party 公共讲座｜ Public Lectures 影评与访谈｜ Film Critics and Interviews
136
工作团队与志愿者｜ HAFF Team and Volunteers
合作机构 Partners
组委会成员单位
官方放映合作伙伴
战略合作伙伴
节目合作伙伴
官方合作媒体 独家网络视 频合作伙伴
官方保险合作伙伴
官方派对合作伙伴
官方数据统计 合作伙伴
形象短片制作机构 网站维护
设计机构
∣杭州新远国际影城 1 号厅 ∣场地用途：主放映厅 ∣地点：西湖文化广场 C 区 8 号 ∣ 交通指南：K67/67, K78, K2, K72, K106, K30, K38 （中北桥站）; K56, K24, K26（杭州大厦站）
∣ PAL MAX 电影会所 ∣场地用途：CIFVF-HAFF 青年电影训练营 “亚洲之光”颁奖派对 ∣地点：杭州市拱墅区大兜路 112-118 ∣公交指南：36, 76, 151, 251, 348, 516, 816, k151, k348（仓基新村站）
∣ 浙江工业大学屏峰校区 ∣ 放映厅：语林楼报告厅 ∣ 公共讲座：理学楼报告厅 ∣ 亚洲短片创作讨论会：浙江工业大学屏峰校区图书馆 ∣ 地点：杭州市留和路 288 号浙江工业大学屏峰校区 ∣ 交通指南：K193, K310, K853, J12, K213（水口站）
票务须知： 1. 观众需要提前在杭州亚洲青年电影节网络票务系统上预定场次方可获得免费门票，地址为：http:// haff2011.sojump.com/jq/980931.aspx； 2. 请各位观众在每场放映前 30 分钟，到影院或工大放映厅前的电影节服务展台登记并取票，凭票入场； 3. 没有经过网络预约的观众，我们也将派发门票入场，但不保证有座位； 4. 影院放映厅为 103 座，浙江工业大学屏峰校区语林楼为 200 座 , 理学楼为 120 座； 5. 影展期间，我们还将进行观影手册义卖，每本手册义卖价格为 15 元人民币； 6. 影展期间，我们也向观众开放注册，注册费用 60 元，将获赠一整套影展纪念品（包括观影手册，布袋， 明信片，胸章等纪念品）； 7. 纸质版排片表请在现场向工作人员免费索要； 8. “亚洲之光”青年短片竞赛单元放映场次，观众可以投票给自己最喜欢的影片，我们将票选产生一 个观众奖，并选择一名观众，邀请他参加“亚洲之光”颁奖派对，并担任观众奖颁奖嘉宾。 HAFF2011 03
为了明年的观众而坚持
这是一届几近夭折的电影节。 今日能相对从容地写开首语，多少有点劫后余生的庆幸。这些话，没有 丝毫夸张。 很多人问我们， 为什么要办这么一个电影节。 我非圈中人， 回答这个问题， 倍感无力。许是书生意气，我一直认同一个观点，即人文若要繁盛，就 得让生活的许多组件维持不是商品的状态。社会应该提供空间让具有创 造性的表达流通于世。我们的电影节最大的野心就是创造这样的空间， 把我们认为优秀的东西通过影展的载体介绍给杭城观众，并以此为起点 培育观众。如果优秀的影像想在中国发展，首先要拥有懂得并乐于欣赏 它的观众。同时我们的电影节还希望培育优秀的青年人才，让他们的影 片通过我们的平台推广出去。“亚洲之光”和训练营的目标就在此。 平心而论，虽然苦心培育三年，我们还是一个羸弱的电影节。但在这个 过程中，太多人、太多的组织给了我们巨大的支持。这种支持首先来自 导演群体的青睐。今年“亚洲之光”青年短片竞赛单元共计收到 243 部 报名短片，入围的 15 部片子来自 10 多个国家和地区，其中全球首映 2 部， 亚洲首映4部， 中国首映4部。 这些数字对一个年轻的影展来说弥足珍贵。 此外，我们的评审、主办单位、合作影展、合作媒体、合作院校、志愿 者都给予我们极大的支持，在一个讲求功利的社会，上述支持几乎没有 任何功利诉求。 最后，感谢我们始终默默工作的 HAFF 团队，他们很年轻，平均年龄不 超过 23 岁。在历时一年的筹备过程中，他们放弃了闲暇时间，用自己 的青春年华谱写了一首理想主义的歌谣。 也许你可以质疑他们的专业性， 但不能质疑他们对艺术的真诚。他们都是艺术的志愿者，其中不少人走 出校园后终生都不见得会进入艺术圈层，但他们用心地做了一件在很多 人眼里特吃力不讨好的事。 若举办杭州亚洲青年电影节真是一件吃力不讨好的事，希望我们仍有机 会继续这种理想主义的生活方式。感谢大家的热情参与，希望明年仍能 再见！
杭州亚洲青年电影节 影展主席
HAFF2011 04
Persistence for the AudienceNext Year This is a film festival on the verge of early mortality. That today I could relatively calmly making these open words is a matter of somewhat luck after surviving. These words are not at the slightest exaggeration. I have been frequently asked: what is to hold such a film festival for? As an outsider, I feel weak about this question. Possibly out of an honor of intelligentsia, I always agree to a view, that for the flourishing of humanity in a society, it is necessary for most of components of life to remain a condition other than commodities. Community should provide space for creative expressions. Our film festival’s aspiration is to produce such space, presenting what we conceive as great works to the local Hangzhou audience, meanwhile as a start of enduring qualified audiences. Audiences able to understand and appreciate great films are necessary for them to prosper in China. At the same time, we want to educate talented young filmmakers and disperse their works through our platform. It is also the purpose of Shine Asia and the CIFVF-HAFF Campus. In all fairness, despite painstaking cultivation of three years, we are still a weak film festival. During this process, however, we get support from so many people and institutions. This year, Shine Asia Shorts competition received 243 entries from candidates, with the 15 films from more than 10 countries and regions getting in the finalist, two among which are world premiere and four Asia premiere, precious statistics for such a young film festival. Furthermore, we insist a void of any materialistic ends, with the supports of our jury members, partners, cooperated film festivals, cooperative media and universities, and our industrial volunteers. At last, I would like to thank our HAFF team and their endeavors. This is quite a young group, with the average age below 23. For the preparation in the past year, they sacrificed their spare time, and composed an idealistic hymn with the bloom of youth. You may question their profession but not their ardor in art. They are the faithful adherent of art. Many of them have not got a chance to get into the circle of art in the near future, but they made such a silly deed according to most people’s judge, with heart. If holding the Hangzhou Asian Film Festival really is a deed for no good, we hope we could go on with this idealistic lifestyle. Thanks for everyone’s enthusiasm and participation. May we reunite next year.
Festival Director Hangzhou Asian Film Festival HAFF2011 05
总体介绍：望见一个幸福的影展 [ 节目策划的话 ] 我是一名纪录片作者，三年来支撑我做纪录片很大的一个动力，来源于 某种幸福感，而这种幸福感中的某种，又来自于影展。 两年前，我第一次去到重庆的独立影展，这是一个极小而狂欢的影展。 在那里我第一次成体系地撩开了华语地区独立电影的小小角落，这让我 大为吃惊。 大约几个月前，我又去了柏林电影节。这是一个极大也同样狂欢的影展。 清晰地记得在海蒂·霍尼曼的那场放映中，我无端地流泪了，那天出奇 地悲伤，伤自幸福的溺爱。 回到中国的我，十分失落，因为我知道，在我的国家，我永远很难找回 那样一种幸福感。可悲的就在于，我们的幸福感，不知为何，总要在彼 岸才能发生。 杭州亚洲青年电影节，就是为了帮我们的观众，也帮我自己，找回这种 幸福感。 祝大家观影幸福！ [ 关于我们 ] 杭州亚洲青年电影节是一个经由“长三角高校影像文化节”、“杭州大 学生电影节”的策展，逐步过渡而来的立足亚洲的青年电影节。 旨在促进和介绍来自亚洲国家或地区青年电影人， 极富创造力和想象力， 并忠于我们多元的世界和生活真相的影像作品，一方面致力于渐进地培 育杭州本地观众的观影素养，另一方面也致力于为亚洲背景的青年电影 人（尤其是中国大陆的青年电影人）提供一个传播与交流的机会。 杭州亚洲青年电影节欲做一个有选择，有脾性，有潜力的青年电影节。 [ 节目框架 ] 主单元： -“亚洲之光”青年短片竞赛单元：来自亚洲地区十多个国家和地区品 质多异的青年短片； 特别单元： - CIFVF：民间映画单元：过去一年华语地区最优秀的独立电影回顾； - MIDA：亚洲视野单元：上海纪实频道 MIDA 导演计划最新作品； - 台湾电影新新浪潮单元：来自台湾青年作者形态多异的新近佳作； - HKAPA 精选放映单元：香港演艺学院发起的电影教育专场； - 渐显：中国 85 后作者单元：85 后生人虎视眈眈生猛之作； CIFVF - HAFF 青年电影训练营： - 剧情片工作坊：训练营期间学员与导师共同配合完成两部剧情短片； - 纪录片工作坊：帮助学员发展一个长片纪录片项目，并完成多个纪录 片单向度习作； - 公共讲座：听一听他们卓有能量的电影经验； -“亚洲之光”颁奖派对：奖项并不重要，大家吃好玩好，让电影真正 地改变我们的关系，这才是最重要的！
HAFF2011 06
Intro: Foresee a Film Festival with Happiness [Words from Program Director] I am a documentary filmmaker. For three years of my career, one of the powerful impetuses that have powered me to sustain this commitment comes from some kinds of happiness, one of which has its derivative in the film festivals. Two years ago, I went to CIFVF for my first time. It was a tiny, yet jubilant festival. For the first time, I got to unveil, in a satisfactory intensity, a corner of the vast world of Chinese independent films, which were a huge surprise to me then. The Berlinale I went to a couple of months ago was a huge yet equally convivial fabulous carnival. I clearly remember that, during the public event of Mrs. Heddy Honigmann, I wept, without explicit reason. I just wept. I was extraordinarily sad, a bitter out of coy happiness. Back to China, I was very upset, because I am aware that, that kind of happiness was in no way to be found in my country. What is extremely ironical is that, our happiness, for this reason or that, has to be generated in a land overseas. Hangzhou Asian Film Festival is endured for the purpose to help the vast film lovers, as for myself, find that kind of happiness. May everyone enjoy your films! [About HAFF] Hangzhou Asian Film Festival is a film festival growing up from Hangzhou Student Film & Video festival, and gradually acquiring its position among Asia. HAFF aims to promote and share the most creative and innovative films directed by young Asian filmmakers which are devoted to reflecting the diversity of our life itself. HAFF is also trying to foster the film literacy of its local audience, and is committed to provide an opportunity for crossborder communication for young Asian filmmakers. It aspires to be a REAL film festival for the young generation. [Program Structure] Main Program: -SHINE ASIA Shorts Competition: Various of short films from tens of countries and regions in Asia, made by young filmmakers. Special programs: - CIFVF: Chinese Indie Fresh: as a review of the best independent films in Chinese regions in the past year. - MIDA: Asia New Force: Latest work of 2011 from MIDA Filmmaker Plan launched by Docu China. - Taiwan New New Wave Cinema: Peculiar new works by promising young directors of Twaiwan. - HKAPA Selections: A special screening dedicated to film education presented by HKAPA. - Fade in: Chinese Post-1985 Directors: Ambitious hits of filmmakers born after 1985. CIFVF – HAFF Campus: - Fiction Workshop: Accomplishing two short films with the collaboration of trainees and mentors of the workshop - Documentary Workshop: Helping the selected trainees with a feature length documentary project. - Public lectures: Share their filmmaking experience with you. - SHINE ASIA Party: The prizes are barely important but that everybody has a good time is what really matters. That films indeed change our relationship is what matters. HAFF2011 07
排片表（新远国际影城）Screening Schedule ∣★ 导演出席映后交流 / Q&A session after the screening. ∣▲ 导演不出席映后交流，但本场有选片人做学术主持 / The film selector will appear after the screening. ∣■ 本场为公共讲座 / Public lectures.
日期 Date 10/14( 五 ) Fri.
10/15( 六 ) Sat.
Film
Time 14:00
09:30
14:00
10/16( 日 ) Sun.
片名
时间
09:30
14:00
时长 Duration
开幕电影：“亚洲之光”短片竞赛Ⅰ Opening films: SHINE ASIA Shorts Ⅰ
77
哈克尼摇篮曲 Hackney Lullabies▲
11
法蒂哈∣ FATIHA ★
23
主日学校∣ Sunday School ★
43
“亚洲之光”短片竞赛Ⅱ SHINE ASIA Shorts Ⅱ
118
通过我们的身体∣ Thro’ your body, I reach ★
60
Being ★
30
翻个墙∣ Cross the wall ▲
28
“亚洲之光”短片竞赛Ⅲ SHINE ASIA Shorts Ⅲ
94
五谷王北街到台北∣ Wuguwang N. St. to Taipei ▲
41
幽灵 ∣ Ghost ★
10
蒺藜 ∣ Tribulus Terrestris ★
43
“亚洲之光”短片竞赛Ⅳ SHINE ASIA Shorts Ⅳ
94
华新街∣ Huasin Street ▲
10
一条流到我家的河 ∣ A River Through My House ★
26
我们毕业在上海∣ Job Hunting ★
58
“亚洲之光”短片竞赛Ⅴ SHINE ASIA Shorts Ⅴ
86
我的公寓∣ My Apartment Block ▲
56
留下来的人 ∣ The Last Villagers ★
16
兔女∣ Dirty Bitch ▲
14
10/17( 一 ) Mon.
14:00
当爱来的时候 ∣ When love comes ▲
108
18:30
未完成的生活史 ∣ The Unfinished History of Life ▲
108
10/18( 二 ) Tue.
09:30
恋曲 ∣ A Song of Love, Maybe ★
114
14:00
沈没之岛 ∣ TAIVALU ★
79
带水云 ∣ Dai Shui Yun (Nimbus) ★
36
自画像和三个女人 ∣ Self-Portrait with Three Women ▲
70
10/19( 三 ) Wed. 10/20( 四 ) Thu.
14:00
待以名之的事物 ∣ The Unnamed
11
18:30
算命 ∣ Fortune Teller ★
132
14:00
刺痛我 ∣ PIERCING
74
18:30 HAFF2011 08
侦探 ∣ Private Detective ★
47
闭幕电影 Closing film: 老唐头 ∣ Shattered ★
100
排片表（浙工大屏峰）Screening Schedule 日期 Date 10/15( 六 ) Sat.
10/16( 日 ) Sun.
时间
片名
时长
Time
Film
Duration
09:30
动画短片合辑 Animation Shorts from CIFVF
60
13:30
贡寮，你好吗？∣ How are you , Gongliao? ▲
89
18:30
光棍∣ The Single Man ▲
57
雨果的假期 ∣ Hugo's Holiday ▲
60
09:30
饥饿的村子 The Starving Village ▲
76
13:30
我的理想 My Ideal ▲
5
三只小动物Ⅱ ∣ Three Small Animals Ⅱ ▲
24
江湖 Groups ▲
36
时代照相馆 Time Lapse ▲
30
生日愿望 Birthday ▲
30
18:30
10/17( 一 ) Mon.
10/18( 二 ) Tue.
绿·柳 The Green Willow ▲
11
09:30
KUNI 行动 KUN 1 Action ▲
70
13:30
亚洲短片创作讨论会 ： 四位国际评审 +“亚洲之光”短片作者 + 观众 Asian Shorts Creation Seminar: Jury Members + Selected filmmakers+ Audience
18:30
公共讲座：我怎样学习看电影、拍电影。∣■ 讲座人：舒琪（“亚洲之光” 短片评审，香港演艺学院电影电视学院院长，影评人） Public lecture: How do I study films? ∣ Speaker: SHU Kei
13:30
摆渡的岁月 A Ferry Tale ▲ 您好·凉平 Good Day, Ryohei ▲ 拾兄妹 Poor Bro, Rich Bro ▲ 枉少年 Wasted ▲
120
行僧 The Monk ▲ 楼上传来的歌声 Upstairs ▲
10/19( 三 ) Wed.
130
09:30
余光之下 Under the Split Light ▲
13:30
公共讲座：九十年代后台湾纪录片的类型和表现形式——试以几部代表 作品为例。∣■讲座人：黄玉珊（“亚洲之光”短片评审，台湾电影新 浪潮后期代表女性导演）Public lecture: The style and methodology of Taiwan documentary films after 1990s. ∣ Speaker: HUANG Yushan
“亚洲之光”派对 SHINE ASIA Party 10/18( 二 ) Tue.
19:00
“亚洲之光”颁奖派对 ∣ SHINE ASIA Party HAFF2011 09
SHINE ASIA Shorts Competition 亚洲之光 青年短片竞赛
法蒂哈｜ FATIHA ｜ 27
“亚洲之光”青年短片竞赛单元 SHINE ASIA Shorts Competition 今年是我们第一年将短片竞赛单元的征片范围推及到亚洲，做出这个决定是战战兢兢的， 当然也怀抱着十足的理由。最终的入围结果，应该可以局部地验证我们先前的猜想。 这 15 部入围短片，代表了 15 种形态迥异的亚洲经验。在题材上，有探讨人在不同文化 处境下的归属感，有亚洲不同国家对待生灵与命理的同一宿命感，有关注到越缅边境的 国军后裔，有对台湾地缘忧患感的体认，也有对女性身体劳动的观察，还有对城市人和 当下大学生处境的忧虑等等。当然，题材只是题材而已，并不那么关乎重要，除去这些， 更令我们兴奋的，是这些短片充满想象力和爆发力的方法哲学。 在手册中我们为每部影片都撰写了选片人的话，藉此更希望促进作者和观众之间现实关 系的发生，以此协力观众主动地接受所应该被揭示的世界真相与人情冷暖，请他们用独 立思考和发声的器官去嗅探周遭。 今年总共收到了超过 15 个亚洲国家和地区的 243 部短片，其中剧情片的报名数量要超出 纪录片整整 100 部，但纪录片所展现出来的能量却要大于剧情片，于是最终纪录和剧情 的入围比例为 9:6。我们也将发表一篇《选片纪》在手册中，希望能够简约地分析我们所 眼见的“亚洲”制作。 在入围的 15 部短片中，男女导演数量对半，导演处女作 6 部，全球首映 2 部，亚洲首映 4 部，中国首映 4 部。 我们期待着未来的某天，亚洲短片看杭州！ This year is the first year that the SHINE ASIA Shorts Competition collects Asian works. We have all reasons to do this but at the same time we are still worried. The final result can partly confirm our assumptions. These fifteen short films accepted by the selection committee represent fifteen different Asian experiences. Some discuss people’s sense of belonging in different cultures, some discuss how different Asian countries treat people and fate, some are concerned about the life of descendants of Kuomintang living in the border between China and Vietnam, some are observations of women’s physical working, and some show concern about the situations faced by urban citizens and college students. Of course, themes are not that important. What is thrilling is that these short films are filled with imagination and passion. In this manual, we have written down our reviews in the catalouge. We hope the authors can have real contact with their audience and help audience accept truth and conventions that should be revealed. Ask them to look at their surroundings with independent thinking and senses. This year we received 243 pieces of films from over 15 countries. Fiction films outnumber documentaries by 100, but documentaries have richer information, so the final proposition between drama and documentary is 6:9. The documentaries from Taiwan are especially thrilling. We will release a manual Tour of SHINE ASIA to illustrate our Asian young production. Among the fifteen films that we selected, six of which are directors’ first works, two of which are world premiere, four of which are Asia premiere, others are China premiere. The number of male and female directors is equal. HAFF2011 12
纪录片评委 Jury Member for Documentary
瑟卡・莫勒
Sirkka Moeller Photo by Thomas Krempke
人类学硕士。八十年代开始，她便为各种国际电影节工作，尤其是纪录片和短片电影节。2001-2006 年她曾 是英国最著名的纪录片电影节—谢菲尔德国际纪录片电影节的节目总监。 她一直工作于电影节的节目、发行等事项，同时也是一些国际电影节的评审以及学术主持人。瑟卡·默勒 一直生活在柏林，并长期以自由的电影顾问和监制的身份为 Deckert 发行公司做纪录片的国际销售工作。 目前她也正在担任柏林国际电影节全景单元的选片评委，卡塞尔国际纪录片电影节的选片人，以及柏林国 际电影节天才训练营 Doc Station 的负责人，并为莱比锡国际纪录片电影节的莱比锡放映单元工作。 Sirkka Moeller holds an MA in Cultural Anthropology. Since the eighties she has been working for film festivals, specialising in documentaries and shorts. From 2001-2006 she was the Festival Programmer for the Sheffield International Documentary Festival. She has worked in festival programming, distribution, subtitling and is a regular jury member, moderator and panellist at international film festivals. Moeller lives in Berlin and works as a freelance film consultant and curator as well as in documentary sales for world sales agent Deckert Distribution. Currently she is on the documentary selection panel for Berlinale Panorama, the short film selection committee for Kassel Dokfest and coordinates the project development workshops Doc Station and Script Station for the Berlinale Talent Campus.
HAFF2011 13
纪录片评委 Jury Member for Documentary
干超
GAN Chao 纪录片导演，2000 年本科毕业于复旦大学中文系，2002 年获得英国布里斯托大学戏剧系文学硕士。同年加 入上海文广新闻传媒集团纪实频道，从事纪录片编导工作。 主要纪录片作品包括：《房东蒋先生》（2004）获韩国 EIDF 国际纪录片节大奖、中国电视艺术家协会年度 评选纪录片金奖；《刚开始的旅程》（2007）获釜山电影节 AND 基金奖、戛纳电视节“国际纪录片先锋奖”； 《红跑道》（2008），获美国广播电视文化成就奖、巴塞罗纳国际纪录片节大奖、萨格勒布电影节最佳纪录 片奖、上海电视节最佳社会类纪录片奖等 12 项国际奖。干超也曾担任莱比锡国际纪录片电影节，萨格勒布 国际纪录片电影节以及上海电视节的国际评委。 In 2000 GAN Chao got his Bachelor of Arts in Chinese Literature at Fudan University in Shanghai. In 2002, he completed Master of Arts in Television Studies, Department of Drama at the University of Bristol in UK. Since then, he has worked as senior director and producer at the Documentary Channel of Shanghai Media Group. He has been appointed jury of international film festivals including DOK Leipzig, Zagreb Film Festival and Shanghai Television Festival. He has directed 5 documentaries and has won awards internationally. In 2007 he received International Trailblazer Award at MIPTV in Cannes, France. In 2009 he was honored Best Documentary Director of the Year by the China’s Broadcast and Television Academy. GAN Chao’s major films include: Last House Standing(2004), Nobody’s Child(2007), The Red Race(2008).
HAFF2011 14
剧情片评委 Jury Member for Fiction
舒琪
SHU Kei 1977 年毕业于香港大学，先后加入过佳艺电视台、香港电视广播有限公司及嘉禾电影公司担任编剧及副导演， 1981 年执导第一部作品《两小无知》，迄今共导演了七部电影，包括《虎度门》、《基佬四十》、《咖啡，或茶》 和《没有太阳的日子》（纪录片）。期间又成立“创造社”发行艺术及独立电影超过 200 部。1997 年开设 电影专门书店“壹角度书店”。曾任香港中文大学邵逸夫堂驻校艺术家，并任香港大学比较文学及英文系 客席讲师。著作有《1995 香港电影回顾》、《1994 香港电影回顾》（编辑）、《大路之歌 ：孙瑜回忆录》 （合编）、《香港战后国、粤语电影比较研究：朱石麟、秦剑等作品回顾》、《六十年代粤语电影回顾》( 编 辑 )、《许鞍华“越南三部曲”剧本集》（编著）及《中国美少年》（小说）。2002 年加入香港演艺学院电 影电视学院任高级讲师，现任该学院院长。 SHU Kei began writing scripts for television when he was still studying in the University of Hong Kong. Among the directors he worked with during this period were Ann Hui , Partrick Tam , Yim Ho , Allen Fong and Tsui Hark. He entered Golden Harvest Film Co. after graduation as scriptwriter and assistant director. In 1980, he wrote the script for John Woo's TO HELL WITH THE DEVIL. In 1981, he made his directorial debut, SEALED WITH A KISS. Since then, he has directed seven drama features, including HU-DU-MEN (1996) and A QUEER STORY (1997), COFFEE OR TEA (2008) and a documentary, SUNLESS DAYS (1990). He was also a distributor specialising in arthouse films. He had distributed over 200 titles in a span of 15 years. In 1997, he opened the first film bookshop, P.O.V., in Asia. He also edited and published several anthologies of yearly film reviews for the Hong Kong Film Critics Society, two books on the Hong Kong Cinema in the Fifties and Sixties for the Hong Kong International Film Festival and is the author of two novels. He taught in University of Hong Kong and was the Artist-in-Residence of Chinese University of Hong Kong in 1999. He is now Dean of School of Film and Television of The Hongkong Academy for Performing Arts.
HAFF2011 15
剧情片评委 Jury Member for Fiction
黄玉珊
HUANG Yushan
出生于台湾澎湖，在高雄长大。1976 年毕业于政治大学西洋语文学系之后就到《艺术家》杂志社担任编辑。 这段期间认识了导演李行，并到片厂实习，在 1977 年到 1979 年之间，她在中影和大众影业公司的几部电影 中担任场记，并兼任《早安台北》的企画。1980 年出国深造。起初她在美国爱荷华大学主修戏剧电影，之 后转学到纽约大学，1982 年获得电影艺术硕士学位。归国后黄玉珊投入纪录片拍摄工作，从事影评和策展 工作，承接传播公司编导工作，开始执导剧情片《落山风》、《双镯》、《牡丹鸟》、《真情狂爱》等， 并与朋友成立黑巨传播公司；其间任教于世界新闻专科学校（今世新大学）以及文化大学、台湾艺术学院（今 台湾艺术大学）影剧相关科系、清华大学通识教育中心、台南艺术学院 ( 今台南艺术大学 ) 音像纪录研究所。 1999 年起，担任台南艺术学院音像管理所所长和音像媒体中心主任（1999~2007），现为台南艺术大学动画 艺术与影像美学研究所影像美学组（原音像管理所）专任副教授，并持续创作。近几年代表作品为《南方 纪事之浮世光影》、《池东纪事》、《锺肇政文学路》、《插天山之歌》等。 黄玉珊导演的作品充分表现出对女性的深切关注，她本人也积极参与女性影像推广的工作。除了电影工作 之外，她也曾经执导舞台剧、创作小说、剧本，并参与女性影展、南方影展的创办。目前她主要的教学和 研究领域是影视编导、独立制片、女性电影、纪录片以及电影评论。 Born in Penghu. Grew up in Kaohsiung City. Huang Yu-Shan graduated form the Department of Western Languages and Literature at Cheng-Chi University in 1976. Since then, She had worked as editor, script girl, and film critic. In 1982, she took a master’s degree in Cinema Studies at New York University. Being back to Taiwan, she has engaged in marking documentaries, features, teaching, and writing. Her works of film and education are always deeply concerned for the female. Script writing, film directing, criticism of documentary and independent production, film industry are in her realm of research.
HAFF2011 16
SHINE ASIA Shorts Competition
亚洲之光青年短片竞赛
三宅乡子 KYOKO MIYAKE 三宅乡子，她所导演的多部短 纪录片在各大国际电影节上展 映，包括了柏林电影节，悉尼 电影节以及美国银泉城国际纪 录片电影节。她本人也曾入选 过柏林天才训练营以及 CB 跨界 工作坊等。她最初从日本去往 英国进行她的历史学研究，此 前曾在东京大学学习英国历史。 她同时也为 BBC 和 NHK 担任 节目调研，并在修完牛津大学 英国巫术历史的研究生学历后， 为《读卖新闻》工作。 KYOKO MIYAKE , Several short documentaries she directed have been shown at festivals internationally including Berlin, Sydney and SilverDocs. She has been selected to participate in prestigious training schemes such as Berlinale Talent Campus and Crossing Borders. She originally came to the UK to continue my historical research, having studied English history at Tokyo University. She worked as a researcher for the BBC and NHK, and as a writer for Yomiuri Shimbun after completing an M.Phil in history of English witchcraft at Oxford University.
开幕电影 Opening Films
哈克尼摇篮曲 Hackney Lullabies 第一次看到这部纪录片，是在今年的柏 林电影节上，当时就被它惊艳的细腻所 深深打动，最后众望所归，夺得了本年 度的今日柏林奖。 摇篮曲几乎是任何一个国家的孩子们生 命中听到的第一首歌，导演将视点放在 了一群伦敦哈克尼区的妈妈们身上，他 们带着各自的孩子远走他乡，来到英国 求生，每到晚上，哈克尼的天空便响起 不同语种不同发音的摇篮曲，向我们分 享他们关于“家”和“归属感”的生命 经验。导演在处理上的细腻令人诧异， 温婉柔和的特写镜头，干净利落的口述， 甚至连字幕都在随着歌声时而跳跃、时 而扭动、时而挥舞。 这的确是一部在地亚洲而又洋气十足的 纪录片。（单佐龙） I first saw it at Berlin International Film Festival and was deeply touched by its tenderness. It finally wins the Berlin Today Award as we all expect. Lullaby is the first song most children heard across the world. The director focuses on the mothers and children living in Hackney District, London. The mothers leave their country and take their babies with them to make a living in London. Every night, there are lullabies in different languages and different
三宅乡子 KYOKO MIYAKE 纪录 Documentary ｜日本 Japan 2011 ｜ 35mm ｜ 11min 亚洲首映 Asia Premiere
今日柏林奖 第 61 届柏林国际电影节天才训练营 Berlin Today Award, Berlinale Talent Campus 9#, 61st Berlinale IFF 2011 悉尼国际电影节 Sydney IFF, 2011 2011 埃姆登国际电影节 Emden IFF,2011
新远国际影城▲
10/14/14:00
pronunciations across Hackney sky, which tell their senses of home and belonging. The director show great talent in displaying tenderness, gentle close-ups, concise statements, even the subtitles leaping, dancing and rolling along with the lullabies. This is really an Asia-located but westernized film. (SHAN Zuolong)
HAFF2011 17
SHINE ASIA Shorts Competition
亚洲之光青年短片竞赛
李永超 YON CHAW（左） 25 岁，兴趣是摄影、拍照、影 像处理。有作品《我不吸毒》 《又 一个追梦的侨生》 《华新街》等。
华新街
YON CHAW , 25 years old, he is interested in filming, photography, and retouching. His films include We welcome you and Huasin Street.
Huasin Street 李永超 卢冠廷 YON CHAW Guan Ting, Lu 纪录 Documentary ｜台湾 Taiwan 2010 ｜ DV ｜ 10min 杭州首映 Hangzhou Premiere 2010 台北电影节台北主题奖入围 Taipei Film Festival, Taipei Image Award, 2010 2010 国际学生电影金狮奖入围 International Student Film Golden Lion Award, Taiwan, 2010 2010 第十届南方影展“南方奖华人影 片竞赛”入围 South Taiwan Film Festival, 2010
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影片重构了这样一个个体：缅甸侨生李 平，孤身来到台湾念大学，期间遇到各 种遭难。对这样一个个体的描述又最终 指向了这样一个群体：国共内战后被抛 弃在越缅边境的国军将士及其后裔，他 们的当下遭难。 这又是一部非传统的纪录片，启用了演 员，运用了非常契合的动画，没有采访， 唯有连贯流畅令人动容的旁白。或许， 我们看待纪录片，已经不再需要把形而 上的“真实性”看得那么必要了，重要 的是，这种态度的表达，已经足以打动 我们并逼出了纪录片该有的功能，想必 影片最后出现的那些图片，才正是这部 纪录片所期冀达到的最大的目的吧。遗 憾的是，总觉得影片有点过于精悍，如 果能有更多面向的呈现，或许会更好吧。 （单佐龙） The movie portrays an individual named LI Ping a Chinese Burmese, who comes to study in Taiwai alone and meets lots of difficulties. He reflects the life of a particular group of people, the descendants of Kuomintang generals and soldiers who were left in the border of Vietnam and Burma during the civil war between Kuomintang and the Communist Party. This is one untraditional documentary. It uses actors and perfect animations.
HAFF2011 18
（右） 卢冠廷 Guan Ting, Lu 24 岁 , 台北人，专长是影像特 效后制、数字音乐混音创作。 有作品 《我不吸毒》 《华新街》 等。 Guan Ting, Lu, 24 years old, he comes from Taipei, master in video effects, and digital music mixing. His films include We welcome you and Huasin Street.
There is no interview but only moving monologue. Perhaps, we no longer need to put so called reality in the first place. What is important is that we are deeply touched and the functions of documentary have worked. I think those pictures shown at the end of the film are the real aim of this film. It is a shame that the film is a little bit short. If it works harder on more perspectives, it may be better. (SHAN Zuolong)
SHIINE ASIA Shorts Competition
亚洲之光青年短片竞赛
杜海 Vincent Du 2004 年毕业于天津商业大学， 之后 6 年时间在天津从事摄影 记者以及图片编辑工作，2006 年成为路透社签约摄影师。 他于 2010 年至 2011 年在香港 大学新闻及传媒研究中心进行 新闻学硕士课程学习。2011 年 他获得英国政府志奋领奖学金 全额资助，将于 9 月前往伦敦 大学金史密斯学院攻读他的第 二个硕士学位，纪录片制作。 《 留 下 来 的 人》 是 杜 海 与 Daniel Goodman 合作拍摄的一 部纪录短片，也是两个人的第 一部作品。 Du Hai (b.1981) graduated from Tianjin University of Commerce in 2004. Following graduation, he became a documentary photographer. In 2006, Du Hai became a freelance photographer for Reuters. In 2009, he began to use multimedia for special subjects such as Catholicism in a Chinese village, childhood autism, and a Chinese charitable artist. He had studied for a master's degree in journalism at the University of Hong Kong's Journalism and Media Studies Centre. With the support of British government’s Chevening Scholarship, he will pursue his second master degree in Screen Documentary at Goldsmiths College of University of London from September 2011.
留下来的人 The Last Villagers 杜海 丹阳 Vincent Du Daniel Goodman 纪录 Documentary ｜香港 Hong Kong 2011 ｜ HDV ｜ 16min 杭州首映 Hangzhou Premiere 香港新界与大陆深圳的交界处，凤坑村。 村里所有人几乎都已相继离开，奔向城 市，仅剩下张祥老人和他的弟妹还住在 这里。他们唯有通过渡海，才能和外面 的世界连通。每到周末，零星的游客会 来岛上游玩，一家只在周末才开张的饭 店供应着他们的午饭。 片中，但凡面对镜头，两位老人总以沉 默出现，唯有三三两两、断断续续的口 述段落穿插其中；但凡现身镜头，两位 老人也都是出离了人群，与观众保持着 三分距离。看得出导演在摄影和剪辑上 是有所用心的。但总还觉得，这种“出 离”似乎有那么一点点尴尬，我们并未 察觉岛上有多么孤独，这种“留”下来 的氛围，或可以被“逼”得更加充分吧。 In the border of Hong Kong and Shenzhen, there is a village called Fengkeng. Almost all people left for cities, only an old man Zhang and his sisterin-law stay. To connect with the outside world, they have to take a boat. On weekends, there are some visitors and the only restaurant which opens only at weekends serves them. In the film, these two elderly people are almost always silent. There are only a few conversations.
2011 年 5 月，香港大学公映 Public Screening at Hong Kong University, 2011
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They are away from the crowd and intend to keep distance from the audience. We can see that the directors have pay attention to their shooting and cutting. But I feel that it is a little awkward that they avoid other people on purpose. Loneliness isn’t portrayed well enough. Maybe the director can work harder to show that they are forced to stay.
HAFF2011 19
SHINE ASIA Shorts Competition
亚洲之光青年短片竞赛
辛佩宜 Pei-Yi HSIN
通过我们的身体 Thro’ your body，I reach 辛佩宜 Pei-Yi HSIN 纪录 Documentary ｜台湾 Taiwan 2010 ｜ DV ｜ 60min 杭州首映 Hangzhou Premiere
2010 台湾女性影展 Women Make Waves Film Festival, Taiwan, 2010 2011 第 33 届台湾金穗奖学生作品类 the 33rd Golden Harvest Award, Taiwan, Student Works 瑞士真实影展 2011VISIONS DU REEL, Doc OutlookInternational Mark
新远国际影城★
10/15/09:30
影片关注到台湾社会中，一个我们大陆 人经验之外的职业，酒促小姐。导演本 人对此片已经阐述得相当严密，似乎不 再需要我来写什么选片人的话了，于是 我便懒惰地摘抄原话如下：本片试图解 析摄影机前后拍摄者和被摄者的关系， 讨论持摄影机的人本质上的权力焦虑； 也在题材的脉络里，描绘酒促小姐在当 今台湾社会文化下的样貌，并解析此行 业中对于一个女性身体劳动的规训，探 问其中性别差异和看与被看的欲望流 动。 仍然需要提醒观众的一点是，请注意导 演手中那台摄影机的能量。它游移不定， 时而失焦，时而慢帧，既保持长时间地 跟随她“被看”的朋友们，又时而谨小 慎微地瞄准那些“看”者，还会犹豫地 转向摄影机背后的自己，更会把这种“被 看”的权力交给对方来执掌片刻。 The film is about Miss Wine, one occupation which is little known by mainland people. The director has expressed himself so perfectly that I needn’t say anything more. copy her words, “this film tries to illustrate the relationship between photographers and the objects in front of or behind the cameras. The photographers are anxious about their rights while photographing.
HAFF2011 20
1981 年出生，高雄人。台湾中 央大学中文系毕业，台南艺术 大学音像纪录所研究生。有纪 录片作品《贵族·平民》(2006)， 《通过我们的身体》(2010)。 HSIN born in 1981, Kaohsiung. Graduate from the Department of Chinese Literature, National Central University. Graduate Institute of Sound and Image Studies in Documentary, Tainan National University of the Arts. Her documentary films include Noble˙Common(2006), Thro’ your body, I reach(2010).
As for plots, we describe what Miss Wine looks what in today’s Taiwan social culture, elaborate the disciplines of this occupation and their influence on women physical working, and illustrate the gender distinctions and the transitional desire of looking and looked at. What is worth mentioning, please pay attention to power of the camera. It wanders, sometimes defocusing and sometime slowing down. It keeps its objects at watch for a long time, aims at those lookers cautiously, and sometimes gives shots of the photographers hesitantly, even gives the looked the right to become lookers sometimes.
SHINE ASIA Shorts Competition
亚洲之光青年短片竞赛
崔丁黎明 Le Minh Trinh 出生于越南复兴的年代。在高 中的时候，他发现自己对电影 有强烈的爱好。在 2008 年取 得了胡志明市经济大学和胡志 明市戏剧和电影大学的双学位 时，黎明已经出版了两本名为 《关于摄影的 10 个技巧》和《当 青年导演成熟时》的电影专著。 他现在在 Blue Production 担任 制片和导演，也是 VARAN 越 南工作室成员和电影书柜项目 的首席作者。他的作品包括《我 的公寓》 （2010）， 《无辜》 （2007）， 《空调的温暖》（2007）。 Le Minh was born in Vietnam during the years of Vietnam’s Renewal. He found his passion in cinema when he was in high school. After obtaining a double degree from the University of Economics HCMC and the University of Theatre and Cinema HCMC in year 2008, Minh has already published two cinema books titled 10 Tips about Cinematography and When Young Directors Become Older. He is now working as a producer and director for Blue Production. He is also a member of Atelier Varan Vietnam and Chief author panel of Cinema Bookcase project. Le’s films include My Apartment Block(2010), Innocence(2007), T h e w a r m t h o f t h e a i rconditioner(2007).
我的公寓 My Apartment Block
一个私人化的故事，来自越南。建造于 旧西贡政府时期的一栋公寓，导演一家 人在那里居住了 30 年，2008 年开始， 陆续有韩国日本的企业想买下这栋位于 市区的公寓，这意味着每家都能得到一 笔可观的收入。导演拿着摄影机，轻松 地对准自己的邻居，听他们唠叨着日常 和过往。这是导演的第一部纪录片，散 漫的回忆体例，破碎的信息，视点没有 强大到引人入胜或者足以说服众人的地 步，但无论如何，我们依旧能从中窥见 变迁中的越南市民社会。（单佐龙） My Apartment is a personal story from Vietnam. The family of director has been living in the apartment built in SAIGON government period for 30 years. From 2008, some Korean and Japanese companies want to buy this apartment in downtown, which means each family can earn a considerable amount of money. The director filmed the daily life and past stories of his neighbors. This film, the director’s first documentary, is full of casual memories and separate information without powerful view to attract and persuade the public, though, we are still able to observe the changing Vietnam society. (SHAN Zuolong)
崔丁黎明 Dinh Le Minh Trinh 纪录 Documentary ｜越南 Vietnam 2010 ｜ DV ｜ 56min 亚洲首映 Asia Premiere
2010 美国电影艺术和科学学院 “来自越南的新声”项目 “New Voices from Vietnam” program presented by the American Academy of Motion Picture Arts and Science, 2010 2010 越南国际电影节 Vietnamese IFF, 2010 2011 巴黎布兰立埠博物馆 Musée d Quai Branly, 2011
新远国际影城▲
10/16/14:00
HAFF2011 21
SHINE ASIA Shorts Competition
亚洲之光青年短片竞赛
刘跃 LIU Yue
我们毕业在上海 Job Hunting 刘跃 LIU Yue 纪录 Documentary ｜中国 China 2011 ｜ HDV ｜ 58min 全球首映 World Premiere 新远国际影城★
10/16/09:30 It is a shame that this is the only one film from the mainland that are selected by the SHINE ASIA, which partly reflects the current situation of creation in mainland 很遗憾，今年唯有这部来自中国大陆的 China. The movie tells the story of two 纪录短片入围“亚洲之光”，这也在某 college students graduated from Tongji University, a top university in China and 些方面代表了某种创作现状吧。 影片纪录了两位考入中国名校上海同济 struggle hunt for jobs in Shanghai. The 大学的本科学生，他们俩毕业在上海， director is a typical northern man, so the 辛苦求职的故事。导演是典型的北方男 film is also kind of prudent. The director 生，影像风格稳重，但缺少点个性。他 finishes this documentary quite well. In 用挺不错的完成度，圆了一部纪录片。 fact, the director himself is also faced 事实上，导演本人马上也要面临在上海 with job hunting in Shanghai. We hope 这样一个超级魔都寻找工作的处境，所 to see him in person. It is much less to 以我们尤其希望在片中看到导演本人， say that the film is a story between two 与其说这是一部讲述两个大学生的求职 college students than a story of three 故事，不如说这更应该是三个人的生命 men accepting the life experiences. The 经验。这点导演部分地做到了，但是很 director partly realizes it but it is a pity 可惜，做得很犹豫，很不彻底，很艰难。 that he deals with it hesitantly.(SHAN Zuolong) （单佐龙）
HAFF2011 22
刘跃，22 岁，就读于上海同济 大学传播与艺术学院广播电视 编导专业。 2009 年导演剧情短片《戏生》 入围杭州大学生电影节。 2010 年导演纪录片《求职进行 时》提案获得上海 MIDA 白玉 兰国际纪录片奖导演计划“新 面孔”单元“优胜提案奖”， 个人获得“新锐导演奖”。 Liu Yue, 23 years old, born in Hebei province, China. Now he is holding his MFA degree in the School of Communication and Arts, Tongji University. He began to make documentary films since 2010. And his first feature length documentary Job Hunting was supported by the 2010 MIDA Fund of Shanghai TV Festival. He worked as the assistant director in the promotion film for Lucky Film Inc. He has also worked as the assistant director and actor in digital movie The National Player.
SHINE ASIA Shorts Competition
亚洲之光青年短片竞赛
黄胤毓 Huang Yinn-Yu 黄胤毓，有实验短片《群病： 我们为此出生》曾入围瑞士神 秘电影节国际短片竞赛单元。 曾担任台北电影节观影手册特 刊作者，影评文章发表于《电 影欣赏》、《文化研究月报》、 《幼狮文艺》等刊物。 本片为其第一部纪录片作品。 Huang's experimental short film Collective Disease: We Born for that has participated in the international competition of Les Etranges Nuits du Cinéma, Switzerland. And he has written film critic articles published in Film Appreciation Journal, Cultural St u d i e s M o n t h l y, Yo u t h Literature, and other publication; and served as one of the festival catalog writers of Taipei Film Festival. This is Huang Yinn Yu’s first documentary.
五谷王北街到台北 Wuguwang N. St. to Taipei 黄胤毓 Huang Yinn-Yu 纪录 Documentary ｜台湾 Taiwan 2010 ｜ HDV ｜ 41min 杭州首映 Hangzhou Premiere
一部关于在台泰劳工的非传统民族志影 片。没有完整的故事，完整的人物，亦 非状态的捕捉，用导演自己的话来讲， 是用了“个人或集体生命成长史的人类 学方法”，试图从泰国劳工们的童年往 事、个人梦境、鬼怪神力、风俗传统， 一直言说到他们当下在台的生活处境， 用跳跃的时空片段编织起这段劳工的 “变迁”经验。影片满充着让人浮想联 翩的神秘色彩。（单佐龙）
第五届北京独立电影展，广角单元 The 5th Beijing Independent Film Festival, Wide Angle, 2010 第十届南方影展，特别放映 The 10th South Taiwan Film Festival, Special Screening, 2010
新远国际影城▲
10/15/14:00
This is not a traditional ethnographic film about the Thai labors in Taiwan. There is no complete story, figure or condition. Quoting the director’s words, “the anthropological method of an individual or a group’s life experiences.” He tries to tell experiences of the laboring in Taiwan by recalling their childhood, dreams, ghost and mysteries, tradition and convention, all the way to their living condition at the moment. He uses the fragments from the past to show the experiences of these labors. This film is filled with mysteries. (SHAN Zuolong)
HAFF2011 23
SHINE ASIA Shorts Competition
亚洲之光青年短片竞赛
林育贤 Ah-Meow Lin
一条流到我家的河 A River Through My House 林育贤 Ah-Meow Lin 纪录 Documentary ｜台湾 Taiwan 2010 ｜ HDV ｜ 26min 杭州首映 Hangzhou Premiere
2010 年台湾国际儿童影展开幕片 Taiwan International Children's Film Festival,2010 2010 年芝加哥国际儿童影展竞赛片 Chicago International Children's Film Festival,2010
新远国际影城★
10/16/09:30
HAFF2011 24
这是一个有关 27 位孩子寻找水源的故 事，他们生活在台南县南化水库的上游， 却从来没有自来水可用。影片通过孩子 们的视角，把台湾八八风灾的旧景重新 带回观众视野，因为是孩子的视角，所 以显得轻松、有趣，甚至还带点奇幻。 片中台风的可怖纵然不见，但它更像是 一个我们并不忍心去揭示的忧伤的寓 言，目力所及的，是台湾深刻的地缘忧 虑感。这令我不由想到今年电影节“台 湾电影新新浪潮单元”即将展映的两部 纪录片《沈没之岛》和《带水云》，一 边是忧伤的寓言，而另一边则是自嘲的 纪录，最终都指向了伤感的乡土忧患。 （单佐龙） This film tells a story of 27 children looking for water. They live in the upper river in Tainan County, but never have any water supply. From the perspective of these children, it brings the tornado disaster back to us. Since it is children’s point of view, the tornado seems to be easy, fun, and fantastic. It is more than a terrible tornado. It is more like a fable that we are unwilling to tell the truth. What we can see is their concern about Taiwan’s natural disasters. It reminds me of two movies, Village with Water and Submerged Island, which are going to
1974 年生，台湾宜兰人。作品 经常以幽默风趣的快节奏手法， 呈现个人对社会人文的细腻观 察，趣味中带有丰富的省思。 2005 年拍摄首部剧情式纪录长 片《翻滚吧！男孩》，创下台 湾首轮戏院上映长达三个月的 票房成绩。同时本片于 2006 年 7 月进军日本电影市场。电影 作品有《六号出口》， 《对不起， 我爱你》。纪录片作品有《鸦 之王道》 《街头风云》 《翻滚吧！ 男孩》 《大象男孩与机器女孩》 《种树的男人》《六局下半》。 Ah-Meow’s works often depicts the society in a humorous and fast-paced approach. His fine observation brings about a compound reflection on social life. He received the Best Documentary award at the 2005 Golden Horse Film Festival with Jump! Boys. The feature-length documentary features the tears and laughter of elementary schoolboys under strict gymnastics training. It set a national record by staying in the box-office for three months.
show in the coming “Taiwan New New Wave Cinema”. One is sad fable, and the other a self-mockery. They both are concerned about natural disasters in Taiwan. (SHAN Zuolong)
SHINE ASIA Shorts Competition
亚洲之光青年短片竞赛
荣安娜 Joanna Vasquez Arong 2002 年，荣安娜来到北京，此 时她决定转向电影行业。此后， 她完成了首部长纪录片作品 《异乡人在北京》，它在超过 20 个国际电影节展映，并获得 了 4 个奖项，包括 2 个最佳纪 录片奖。她的第二部长纪录片 作品《愚公移山》，在 2008 年 的釜山电影节首映，并获得了 釜山亚洲短片电影节的 Kyobo 奖。2009 年， 他 作 为 12 个 非 非洲籍导演之一，参与了由鹿 特丹国际电影节发起的“遗忘 非洲”系列纪录片项目。 Joanna decided to move to Beijing in 2002 when she switched careers to filmmaking. Since then she premiered her first feature documentary, NEOLOUNGE which played in over 20 festivals around the world and has won four awards. Her second film, YUGONG YISHAN, premiered at the Pusan International Film Festival in 2008. It won the Kyobo Award at the 29th Busan Asian Short Film Festival. In 2009, she was one of 12 non-African filmmakers commissioned by the Rotterdam Film Festival for their Forget Africa series.
开幕电影 Opening Films
主日学校 Sunday School 影片是鹿特丹电影节“信号：非洲在哪 里”项目的成片之一，菲律宾导演荣安 娜跟随赞比亚导演穆索娜，回到她的国 家，拍下这样一部纪录片。 这是一个属于穆索娜的家族故事，关乎 家庭、苦痛和信仰，藉此更让我们窥探 到整个赞比亚社会的堪忧状况。安娜作 为女性导演独有一种“动人”的想象力 通贯全片，简单的章节结构，口述从开 篇直到结尾，从没停歇，但这所有的讲 述都不会令人心生厌烦，只会促使我们 跟随那些抖动着的，看似毫无关联但又 贴切到几乎精准的画面，不断地陷进去 陷进去，似有一种魔力在驱使我们，听 穆索娜一家讲述这一段必听不可的故 事。（单佐龙） Sunday school, one of the finished films of the project Signal: Where is Africa in the Rottodam film festival, is a documentary film in Zambia, directed by Philippine director Anna Rong followed by Zambian director Mulosa. The audiences can understand the worrying condition of Musola’s family further by this story about her family, pain, and belief. As a female director, Anna makes her special moving imagination throughout the whole movie. The simple structure and the continuous narration
荣安娜 Joanna Vasquez Arong 纪录 Documentary 菲律宾 赞比亚 Philippines Zambia 2010 ｜ HD ｜ 43min 中国首映 China Premiere 第 39 届鹿特丹国际电影节 39th IFF Rotterdam, 2010 第 33 届哥德堡国际电影节 33rd Göteborg IFF, 2010 第 15 届喀拉拉邦国际电影节 15th IFF Kerala, 2010
新远国际影城★
10/14/14:00
from start to the end are not boring but make us fall deeply into the story together with those seemingly unrelated but trembling and almost accurate pictures. It seems that a kind of magic power are compelling us to listen to this story by the Musola’s family. (SHAN Zuolong)
HAFF2011 25
SHINE ASIA Shorts Competition
亚洲之光青年短片竞赛
黎明昕 LAI Ming Yan 黎明昕毕业于香港演艺学院 电影电视学院，电影电视艺术 学士课程，主修导演 (2010/11)。 Lai Ming Yan graduated from The Hong Kong Academy for Performing Arts, School of Film & Television. Bachelor of Fine Arts, Degree in Film & TV major in Directing (2010/11).
Being 黎明晰 LAI Ming Yan 剧情 Fiction ｜香港 Hong Kong 2011 ｜ HD ｜ 29min 杭州首映 Hangzhou Premiere
2011 香港演艺学院电影电视学院 毕业作品展 HKAPA Film and TV School 2010-2011 Graduation Screening
影片勾勒了一种香港经验，前半部 分在不断地“失忆”，后半部分在 努力地“回忆”，回忆的结果，仍 然是无尽的失忆。失去和毁灭，发 生在极冷的色调和令人屏息的死 板压抑的构图里，逼人的肃穆。导 演说，“这趟旅程，欲要找回为人 的感觉。”片子用实验的笔触，讲 述一个属于香港或者说是属于城 市弊疾的故事。（单佐龙）
新远国际影城★
10/15/09:30
HAFF2011 26
It described a special Hong Kong experience for us. The first part is kind of losing memory and the second part is recollecting. It is sad that the recollecting seems like another kind of losing memory. Losing and destruction takes place in dark hue and dulling and oppressing structure, so solemn. The director says, “The journey is to find the feelings of being a human being.” The film uses experiment style to tell a story of the weakness of Hong Kong or any other bit cities. (SHAN Zuolong)
SHINE ASIA Shorts Competition
亚洲之光青年短片竞赛
黄洲珍 Margaret Bong 黄洲珍出生于马来西亚砂捞 越。她是 2005 釜山电影节亚 洲电影学院的校友。她参加了 法国南特三大洲电影节组织的 PRODUIRE AU SUD 国际跨国 制作研讨会。她也在比利时布 鲁塞尔和荷兰鹿特丹工作室的 亚欧电影会上发展了一个长片 项目。2007 年，她成立了自己 的电影制片公司 Joonloo Studio Sdn. Bhd，主要致力于短片、纪 录片和故事片的创作。她目前 正忙于一部长纪录片的院线上 映工作。 Margaret Bong was born in Sarawak, Malaysia. She is also an alumnus of Asian Film Academy 2005 from PIFF. She participated in Produire Au Sud International Co-Production Workshop in Nantes, France organized by Tri-Continent Film Festival. She also presented a feature length project in AsiaEurope Film Meeting in Brussels and Rotterdam Lab in The Netherlands. In 2007, Bong formed her own film production company Joonloo Studio Sdn. Bhd, focusing on short films, documentaries and feature films production. Margaret is now also working on her feature length documentary for theatrical release. Now the film is in work in progress and final funding stage.
开幕电影 Opening Films
法蒂哈 FATIHA 一部地地道道的亚洲制作，叙述一个极 简的仪式化故事，送孩子的妈妈最后一 程。还可能，这是一部经验之外的公路 电影？ 车内，爸爸分别同法蒂哈与妈妈的对话 是最出彩的段落，生死两隔，妈妈静如 止水，所有对话发生得合理而静好。法 蒂哈的梦境、古兰经、接生婆、鹦鹉、 家族的守望以及爸爸对城市生活的向 往，一个个剥落的话题，让人不由自主 地嗅到乡土和传统。这并非简单的家庭 故事，而是一张处处关乎这个稻米民族 的肖像画。（单佐龙）
黄洲珍 Margaret Bong 剧情 Fiction ｜马来西亚 Malaysia 2010 ｜ Digi Beta ｜ 23min 亚洲首映 Asia Premiere
2011 年鹿特丹国际电影节 Rotterdam IFF 2011
新远国际影城★
10/14/14:00
Fahita, a film purely made by Asians, tells a very simple ritualized story about the last day for a child’s mother. And is it likely that this is a road movie out of experience? The most amazing part of the movie is that the suitable conversation of father, FATIHA and his mother who is dying and still like water. A series of scenes such as FATIHA’s dream, The Qur'an, the midwife, the parrot, the watching from the family, and father’s longing for city life, make people smell hometown and tradition. This is not only a simple story about family but a portrait painting of people growing up in South Asia. (SHAN Zuolong)
HAFF2011 27
SHINE ASIA Shorts Competition
亚洲之光青年短片竞赛
黄浩玮 Hao-Wei Huang
翻个墙 Cross the wall 黄浩玮 吴岱芸 Hao-Wei Huang Tai Yun Wu 剧情 Fiction ｜台湾 Taiwan 2011 ｜ HD ｜ 28min 杭州首映 Hangzhou Premiere 新远国际影城▲
10/15/09:30 It is a classical Taiwan film focusing on teenagers. A girl named Lee is stressed by exams and study. A boy named Chen who doesn’t love studying persuades her to climb over the wall and she sees a 典型的台湾青春题材，被困考试和学习 different world. 压力的女孩李霈霈，在不爱学习的男孩 Two directors come from Taiwan 陈以翔的安慰下，试着第一次翻出学校 University of Politics, and what is more 围墙，看到了一个从未体验的世界。 important they are both born in 1989. 两位导演均来自台湾政治大学，关键是， There are many mainland peers trying 二位都是 1989 年生人。在大陆，同样 to create films of similar theme. The 年龄的作者，也正在创作着同样题材的 highlight of this film is that it uses a 青春短片，数不胜数。而本片的优点在 simple sign climbing over the wall. There 于找到了一个极简的符号“翻个墙”， is no excessive drama. The creators have 没有很过分的剧情，并在制作上很有克 good control and the film is agreeably 制力，甜而不腻，应该是同样题材大陆 sweet, which may act as model for the 学生短片的一个良好的学习模范。当然， mainland creators. Of course, it will also 它应该也会是一部很有“观众缘”的影 be a popular film for the young audience. 片吧。（单佐龙） (SHAN Zuolong)
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1989 年生，生于彰化，毕业于 台湾政治大学广电学系。作品 范围涵括纪录片与剧情短片， 首部纪录片《梦·乐园》（2009） 即入围贰零影展最佳纪录片。 有作品中华电信驻点纪录片《林 子故事》（2010），《翻个墙》 （2011）。 Hao-We Huang, born in 1989 in Chunghua County, Taiwan. Hao-Wei Huang has directed several films, including documentar y and feature film. His first documentary Wonderland was nominated for Best Documentary in Two Zero Film Festival. His films include documentary Lin Zi Story (2010), Cross the Wall (2011).
吴岱芸 Tai Yun Wu 1989 年生，生于台北，政治大 学广告学系四年级。修习许多 电影相关课程，具有导演、灯光、 美术等各项实务经验。 《翻个墙》 （2011）导演、编剧。 Tai Yun Wu, born in 1989 in Taipei County, Taiwan. Tai Yun Wu began shooting a film when she studied in university. She has several practical experiences. Cross the Wall is her first screenplay work.
SHINE ASIA Shorts Competition
亚洲之光青年短片竞赛
李澄 LI Deng 生 于 1988， 河 南 省 商 丘 人。 2007 年考入中央美术学院。作 品《老家的夏天》入选中央美 院 2009 年度优秀作品展并获 奖。 Li Deng (b.1988. HeNan, Shangqiu), He has been a student at the China Central Academy of Fine Art since 2007. His Short films The Summer Days received awards at the2009 CAFA Student Excellence Awards.
蒺藜 Tribulus Terrestris 李澄 LI Deng 剧情 Fiction ｜中国 China 2011 ｜ HDV ｜ 43min 全球首映 World Premiere 新远国际影城★
10/15/14:00 The film begins with scene that three young men were supposed to break the statue of Leifeng in school, they were forced to pay 100 yuan as compensation 学校的雷锋像被砸了，这被认定是 in the afternoon to avoid being kicked 三名问题少年干的。老师勒令他们 out, and the headmaster was urged to 下午必须每人赔偿 100 块钱，否则 move the school by a labor contractor. 就开除，而旁边又是包工头来催校 These three young were not able to get 长尽快搬迁学校，故事就从这里开 money from their families but overheard that old tires are valuable, so they stole 始。他们问家人要钱不成，无意间 a tire from village in order to sell it to the 听到轮胎卖得了大钱，于是去村里 waste recollection. After failing in the 偷了一只轮胎，卖给废品收购站不 waste recollection, they tried to sell it in 成功，还想运到镇上去卖，兜了一 the town and failed as well. Eventually, 圈也没卖掉，最后打算将轮胎滚回 they decided to give it to school as the 学校交给老师作为赔偿。 到了学校， compensation. After arriving at school, 发现早已空无一人，雷锋像更是满 they found it empty with smashes all over the ground. The main part of this movie is 地碎片。片中部分段落的安排很有 delicately designed, with calm narration. 心，沉着的叙事，只是有一个问题 The only question left for the director is 留给导演，片名是咋回事？（单佐 what the title of this film is for? (SHAN 龙） Zuolong)
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SHINE ASIA Shorts Competition
亚洲之光青年短片竞赛
许纹鸾 Sun Koh
兔女 Dirty Bitch 许纹鸾 Sun Koh 剧情 Fiction ｜新加坡 Singapore 2009 ｜ Digi Beta ｜ 14min 中国首映 China Premiere
一部令人惊喜的新加坡短片！ 初看此片，有被吓到。对性爱话题 最佳影片奖，最佳导演奖 的露骨和肆意表达，让保守的我无 2009 新加坡短片奖 端地紧张。粗俗直接的台词，段落 Best Film, Best Director, 剪辑中暧昧的勾连，包裹其外的， 1st Singapore Short Film Awards 2009. 更是一种天马行空的，让人有点喘 2011 伦敦鸟瞰电影节 7th Bird’s Eye View Film Festival 2011, 不过气来，甚至更有点跟不上趟的 想象力。导演向观众投射出一股激 London, UK. 2011 旧金山国际亚洲美洲电影节 情的释放，看罢，我还傻愣愣的。 29th San Francisco International Asian （单佐龙） American Film Festival 2011, USA.
新远国际影城▲
10/16/14:00
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This is an unexpected Singapore short film! At first sight, I am surprised by this film. The openness towards sex makes me nervous since I am a very conservative man. Vulgar and direct words, ambiguous connections between every cut, and the breathtaking unbelievable imagination make it hard for me to follow the director. He releases passion to the audience, which is astonishing.(SHAN Zuolong)
许纹鸾最初在新加坡义安理工 学院学习大众传播（1994-1997） 以成为一名记者，结果取代的 是成了一名电影导演。在为亚 太区 TVC 工作了三年之后， 她创作了处女作《秘密天堂》， 并成为了新加坡第一位获得芝 加哥电影节银雨果奖的导演。 她的作品包括了《春光荡漾》 （2006），《七影篇》（2008）， 《兔女》（2009）等。 她同时还担任过 2009 鹿特丹电 影节的亚洲影评人联盟奖评委 等。她也是柏林天才训练营， 釜山电影节亚洲电影学院以及 金马电影学院的校友。 Sun studied Mass Communication at Ngee Ann Polytechnic (1994-1997) to become a journalist but became a filmmaker instead. After 3 years of working for TVC directors from the Asian Pacific region, she made her debut short film The Secret Heaven and became the first Singaporean to win the Silver Hugo at the 38th Chicago International Film Festival in 2002. Her films include LUCKY7(2008), The Secret Heaven (2002), Bedroom Dancing (2006), Dirty Bitch (2009), One (2010). Sun also served as NETPAC and NEW ARRIVALS jury at IFF Rotterdam 2009 et al. She is an alumni of the Berlinale Talent Campus 2003, the Asian Film Academy (Pusan) 2007, and the 1st Golden Horse Film Academy.
SHINE ASIA Shorts Competition
亚洲之光青年短片竞赛
李定珍 Jung Jin Lee 李定珍在 14 岁初中辍学后便开 始电影创作。2005 年以来，她 的第三部短片《虽然》就在多 个国际电影节展映。她的短片 《自然的秘密》获得了 2009 年 纽约“起舞在摄影机”电影节 的评委会奖，她是获得此奖项 最年轻的导演。她的第五部短 片《幽灵》入围了 2011 年的戛 纳电影节短片角单元。李定珍 是一个拥有广阔视角的电影导 演，她在多元形态的电影创作 中积累了各种经验。 Jung Jin Lee started filmmaking right after dropping out of junior high school at the age of 14. Since 2005, her third short film, Nevertheless, has been shown at several international film festivals. She won the Jury Prize at 37th Dance on Camera Festival in New York in 2009 with another short film, The Mysteries of Nature. She was the youngest director who has ever won the prize. Her fifth short film Ghost has been selected for the festival de Cannes this year. Dahci Ma has a broad perspective as a director, which she gained based on the experiences of working in various genres and styles of film.
幽灵 GHOST 李定珍 Jung Jin Lee 剧情 Fiction ｜韩国 South Korea 2011 ｜ HD ｜ 10min 中国首映｜ China Premiere 这是一部至少令我有点捉摸不透的魔幻 之作。发展中城市釜山的街区，正在等 待被拆的平民建筑，一连串呆板的静止 影像，时隐时现在混沌的光线里，被警 察通缉中的强奸犯窝藏在黯淡又凌乱的 废弃房间，吮吸着干枯的鸡骨头，却仍 然无法抑制他的“饥饿”感。 静物化的空镜，邻居们恐惧的耳语，鸡 骨幻化的玩偶，幽闭的千纸鹤，变态的 强奸犯，导演将这些牌一张张甩出来， 让他们在真实和幻觉中不断跳跃，一个 很容易会被理解为“追捕强奸犯”的简 单故事逻辑，却处处埋伏着精心设计的 “排列组合”。 导演 14 岁中学辍学便开始电影创作， 拥有巨大的令人深陷疑惑的潜力，很期 待看到这位个性十足的导演！（单佐龙） This is a magical film which at least puzzles me a little. At some buildings about to be pulled down in Busan, a series of dull and motionless pictures appear and disappear from time to time in chaotic lighting. A rapist listed as wanted hid himself in a dark and deserted room gnawing a chicken bone but still couldn’t stop his hunger.
2011 戛纳国际电影节 短片竞赛 64th Festival de Cannes, Short Film Competition. 新远国际影城★
10/15/14:00 The motionless pictures, neighbors’ terrifying whispers, chicken bones, lonely paper cranes and abnormal rapist, the director throws out these images and they continue to leap between illusion and reality. The story can be easily understood as simply catching the rapist is nevertheless simple, for it is designed deliberately. The director begins to create movies ever since she dropped out of school when she was 14 years old. She has great potential, and I really hope to see this creative and special director!(SHAN Zuolong)
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CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
算命｜ Fortune Teller ｜ 35
CIFVF: 民间映画单元 CIFVF: Chinese Indie Fresh 重庆民间映画交流展（CIFVF），其宗旨是促进民间电影及录像媒介的创作与 交流，鼓励重庆及国内的新进影像创作人，拓展青年群体的艺术视野与想象力。 CIFVF 始于 2007 年，是中国西部唯一的独立电影节，也是西部唯一的电影节， 希望提高和拓宽本地（川渝地区）观众的影像审美和阅读面，鼓励中国独立导 演们持续创作，并希望对本地（川渝地区）的影像创作有所促动。 两年前，我们办了重庆影展在杭州的第一次巡展，于是在今天才得以能有杭州 亚洲青年电影节。重庆影展无疑是 HAFF 的母体，每年在 HAFF 的特别单元中 设立一个重庆的巡展单元，可以帮助我们窥见上一年度华语地区最富有能量的 独立电影战况。 今年是 HAFF 进入杭州市区展映的第一年，对于观众的接受度我们有点颤颤巍 巍，最终达成妥协，今年选到 HAFF 的重庆影片，更趋向温和、安静地挥发电 影能量。《恋曲》的细腻味，《算命》的江湖气，《刺痛我》的现实弊，以及 超乎实验之名的《待以名之的事物》，纪录片短片的杂陈，当然更少不来那些 动画短片刻画的纷繁世界。每部影片都有选片人最为详细的点评和阐释，今年 的杭州，只能揭开重庆民间映画的一个小小角落，期待明年乃至后年，我们的 观众可以有更大的胃口来尝尝重庆的鲜头。 Chongqing Independent Film & Video Festival (CIFVF) is the biggest independent film festival in western China. Its aim is to encourage the creation and communication of unofficial films and video media, gather young filmmakers in Chongqing and China to open the imagination of young adults towards art. CIFVF was set up in 2007, as the only independent film festival in western China, as well as the only film festival in western part. It helps to height and to broaden the native (Chuan Yu area) audience’s aesthetics and reading coverage, encouraging Chinese independent directors to keep moving on with the hope to bring some change to the native (Chuan Yu area) filmmakers. Two years ago, we held the first tour screening of CIFVF in Hangzhou, which gave birth to HAFF. There is no doubt that CIFVF is the matrix for HAFF. So, by setting up a Chongqing tour screening every year as a special program of HAFF, we are able to see the most intense situation among Chinese independent films in the past year. 2011 is the first year for HAFF to be held in downtown area. We were quiet uncertain about the extent of audience’s acceptance, but made a compromise at last. The CIFVF films picked out this year tend to emit the power of films in a more gentle and quiet way. The subtleness of A Song of Love, Maybe, the worldliness of Fortune Teller, the realism in PIERCING and the avant-gardism in The Unnamed, are part of the various worlds that resides in every short documentary. Not to mention the numerous and complicated world comes out of animation films. Each film is attached with the most explicit comments and opinions made by the film selector. In this year, we can only glimpse at a corner of the CIFVF. But till the next year then the year after next year, HAFF will be able to satisfy the audience’s appetite with a wider range of delicious CIFVF films. HAFF2011 34
CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
徐童 XU Tong 1965 年生于北京。1987 年毕业 于中国传媒大学摄影专业。现 在工作生活于北京。有作品《麦 收》（2009），《算命》（2009）， 《老唐头》（2010）。 X U To n g , 1 9 6 5 B o r n i n Beijing.1987 Graduated from the Communication University of China with a major in film. Now living and working in Beijing. His films include Wheat Harvest (2009), Fortune Teller (2009), Shattered (2010).
“《算命》比《麦收》更生猛、更 疼痛、更北方……《麦收》的痛是 深深地扎在子宫里、蔓延在狭小空 间的；而《算命》的痛搅动了整个 躯体，辐射到公共空间，并不断放 射出巨大的能量，把观众逐一击 倒。”这段话是我去年看完徐童的 《算命》之后写下的，而《麦收》 是他的第一部，那时也刚刚看完。 一部“纪录”基层人民、或者说江 湖子弟的片子，能鲜活成如此，每 个人物都有数个层面，而且时隔多 日我依旧记忆清晰，难怪有人指责 徐童有剧情片和娱乐化取向。而人 们对他的道德进攻和公共性讨论 也一再反复，我认为这种群体性责 难是不必要的和缺乏自省的一种 表现。（应亮）
算命
Fortune Teller
徐童 XU Tong 纪录 Documentary ｜中国 China 2009 ｜ DVCAM ｜ 157min CIFVF 2010
“Fortune Teller” is more vigorous, more painful, more north-like than “Wheat Harvest”……The pain of “Wheat Harvest” lies in the womb extends in the narrow room; while the pain of “Fortune Teller” stirs the whole body, radiates into the public space, and strikes down the audience. These words were written down after I saw Xu Tong’s Fortune Teller last year. His first film “Wheat Harvest” was just seen at that time. A file recording grass-root people, or brotherhood, can be such fresh and alive. Every character has several aspects. After all these days, my memory is still clear. No wonder Xu Tong was accused of his feature and entertainment orientation. His attack at moral and publicity are discussed again and again. I think such group criticism is unnecessary and it is a sign of lacking self-reflection.(YING Liang)
2009 中国独立影像年度展（南京） 年度十佳纪录片 Top Ten Documentary Film, China Independent Film Festival, 2009 2010 中国纪录片交流周评委会奖 Jury Prize, China Documentary Film Festival, 2010 2010 华语纪录片节（香港） 长片组亚军 Second Prize, Feature Film Section, Chinese Documentary Festival, Hong Kong, 2010 CIFVF 2010 亚洲影评人联盟奖 NETPAC Award, CIFVF 2010
新远国际影城★
10/19/18:30
HAFF2011 35
CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
张赞波 ZHANG Zanbo 1970 年代出生于湖南，2005 年 北京电影学院导演系硕士毕业， 《恋曲》是他的第二部纪录长片。 2009 年制作完成了他的纪录片 处女作《天降》，2011 年最新 完成纪录片《有一种静叫庄严》。
恋曲 A Song of Love, Maybe 张赞波 ZHANG Zanbo 纪录 Documentary ｜中国 China 2010 ｜ HDV ｜ 114min CIFVF 2010 2010 中国纪录片交流周提名奖 Special Mention Prize, Documentary Film Festival China, 2010
（空间的三维 + 时间）发展故事。可纪 录片，多了个第五维，也就是镜头后面 制作方这一维。它的出现，有时会让观 众“一楞”，或者说“别样”的感觉—— 因为它突然拓展了故事的空间，亦真亦 假，观众和导演仿佛扮演了“上帝”的 角色。《恋曲》在快结束时，男主角从 黑暗中步入画面，他直视镜头，突然对 导演说句：“张导，这个镜头拍完后， 你的片子应该杀青了吧？”我以为，这 是纪录片最特别的地方。( 周浩 )
The female protagonist is beautiful and loves the man deeply, while the male character has more than one lover… the documentary unfolds a love story 新远国际影城★ which is even a bit clichéd. Often times the documentary filmmakers would be 10/18/09:30 asked questions such as “how would you win the trust of your subjects and get the permission to shoot them”, and I think it’s about the probability— if somebody doesn’t want to be shot, 一位漂亮痴情的女主角，一位脚踩两条 there must be somebody who wants to 船的负心男人，影片讲述了一个大家都 be the protagonists. It depends on your 不会陌生的爱情故事。纪录片导演常常 skills of persuasion and patience. And 会被问到“拍摄对象怎么才能同意你们 also it’s about your sincerity. To tell them 的拍摄？”我以为应该是从概率上去计 your real intention is much better than 算，有人不愿意，但一定有人会愿意被 if you hide the camera somewhere. The 拍，看你用的功夫和耐心了。还有一点 smooth relationship between the director 就是多一些真诚，第一次就告诉别人， and his subjects determines whether 我们是来做什么的，比你遮遮掩掩去掩 the documentary will be successful. The 饰可以取得更好的效果。纪录片的成功， fiction films often push the narrative 导演与被拍摄对象之间良好的关系至关 forward in a four-dimensional manner— 重要。传统的剧情片，一般只是在四维 the three-dimensional space plus time.
HAFF2011 36
Zhang Zanbo, born in 1970’s, graduated with a Master degree in Film Direction from Beijing Film Academy in 2005. A Song of Love, Maybe is his second long documentary work. His first long documentary Falling From the Sky was produced in 2009. He finished his most recent feature length documentary The Interceptor from My Hometown. However when it comes to the documentary, there is a fifth dimension— which appears when “the making of” part is revealed to the audience, who will often be shocked and find the revelation weird. The extra dimension enhances the narrative power, and blurs the borderline between the fiction and the truth, and both the audience and filmmakers are given the right to construct the story in their minds. Approaching the ending of the film, the male character appears from the dark and walks towards the camera and when he faces the camera-eye, he asks the filmmaker, “Zhang, after this shot your film will be finished right?”And I consider this part the most extraordinary thing about the documentary. (ZHOU Hao)
CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
刘健 LIU Jian 1969 年出生于中国江苏。1993 年毕业于南京艺术学院中国画 专业。2007 年创立乐无边动画 工作室。 LIU Jian (China, 1969) majored i n C h i n e s e Pa i n t i n g a n d graduated from Nanjing Art Institute in 1993. Since then, he made works that met with the criteria of modern art. His works were presented in some of the most important exhibitions in China and abroad. He is one of the representative artists of Gaudy Art and Conceptual Photography. In 1995, he began making animations. His Le-joy Animation Studio was found in 2007.
刺痛我
PIERCING1
第一，《刺痛我》是中国第一部独立动 刘健 LIU Jian 画长片，填补了一个空白，也让更多的 动画 Animation ｜中国 China 中国独立动画制作人看到了希望。第二， 2009 ｜ 74min 《刺痛我》是刘健导演一个人完成的， CIFVF 2010 共花费了三年的时间， 动画片长74分钟， 工作量可想而知。对于一个独立动画导 演，这个过程就像马拉松长跑，需要惊 人的毅力。第三，《刺痛我》的题材关 2009 意大利城堡动画电影节 注现实生活，与《和巴谢尔跳华尔兹》， Fabrizio Bellocchio 社会奖 《我在伊朗长大》一样，动画带给我们 Fabrizio Bellocchio Prize for Social, Castillo 对现实的思考。在动画里我们听街头小 Animated Content, 2009 青年无聊的谈话，在动画里我们看见熟 2010 昂西国际动画电影节 悉的南京城墙，在动画里我们也想到现 入围长片竞赛单元 实中的自己。（雷磊） Annecy International Animation FF, 2010 2010 首尔数字电影节获绿变色龙奖 First this animation is the first Green Chameleon Award, independent animation feature which Cinema Digital Seoul Film Festival, 2010 supinely a gap an gives us Chinese independent animation filmmakers hope. Second “Piercing 1” is a 74 min feature 100% hand-made by director Liu Jian only 新远国际影城 himself whose workload is unbelievable and incredible. To an independent 10/20/14:00 animation director, this production course is like marathon which requires amazing perseverance.Last “Piecing 1” is the third animation focusing on social reality after “Waltz with Bashir” and “Persepolis” which brings us the reflection of real life. We audiences can hear hooligans’ senseless conversation and have a vision of familiar circumvallation in Nanjing and ourselves in this real world.(LEI Lei)
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CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
黄亚历 HUANG Yali 黄亚历，独立制片创作者。 HUNAG Yali, independent filmmaker.
待以名之的事物 The Unnamed 黄亚历 HUANG Yali 实验 Experimental ｜台湾 Taiwan 2010 ｜单频｜ 11min CIFVF 2010 财团法人国家文化艺术基金会补助拍摄 Support By National Culture and Arts Foundation, Taiwan 2010 年克罗埃西亚 25FPS 国际实验电 影节竞赛单元 Croatia ”25 FPS Internationa Experimental Film & Video Festival, 2010 CIFVF 2010 亚洲影评人联盟奖 NETPAC Award, CIFVF 2010
新远国际影城
10/19/14:00
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本片建基于影音间的诗性连结与 非因果性逻辑， 褪去物体的实用化、 功能性，观照现实中事物的原初状 态，经由对微小细节的渐次感知， 编织多重的诗意想象。 This film is constructed upon the visual poetry between what you hear and see, and a sensual fluidity that is not based on the cause and effect relationship. It casts away the practicalities and the functionalities commonly defined in real-world objects by returning things to their raw state, and guiding the viewer’s awareness to the finer details, while intertwining layers of poetic imagery.
CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
范俭 FAN Jian 毕业于北京电影学院导演系 , 曾在中央电视台从事纪录片创 作多年。有作品《在城市里跳 跃》（2006），《 的 哥（ 生 于 2008）》 （2008）， 《命》 （2009）， 《我的理想》（2010），《重生》 （2011）。 Fan Jian, a documentary director in Beijing, was graduated from directing department of Beijing. His films include Dancing in The City(2006), Taxi (2008), Fate (2009), My Idea1(2010), The Next Life(2011).
我的理想 My Ideal
如同去年的《生于 2008》，范俭 的“专业素质”再次胜过了他的“聪 明感”。5 分钟的“短短片”，而 且是纪录形态，如何“组织”出情 趣是个小难题。采访本不是很讨巧 的， 但范俭再次施展起 “结构大法” ： 儿童的生趣 + 大学生的衰气—— 于是一部起码有观众缘的小片子 出现了。顺便一提：片中儿童画为 CIFVF 影展协调臧妮所画。（应亮）
范俭 FAN Jian 纪录 Documentary ｜中国 China 2010 ｜ DV ｜ 5min CIFVF 2010 2010 南方多媒短片节，纪录短片银奖 Silver Award for Short Documentary, Southern Pocket Film Festival, 2010
浙工大屏峰
10/16/13:30
Like “Born in 2008” last year, Fan Jian’s professional quality has it all over his smartness again. For a fiveminute mini-film, documentary, how to organize its sentiment is a problem. The interview film is not beneficial. However, Fan Jian again exhibited his structure method: children’s joy + university students’ decay—thus a short film winning audience appeared. By the way, children’s drawing in the film is drawn by Zang Ni who is coordinator of CIFVF. ( YING Liang ) HAFF2011 39
CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
王震 WANG Zhen 李振华 LI Zhenhua 王震，山东工艺美术学院在校 生；李振华，山东工艺美术学 院 在 校 生。 作 品 有《 长 清》 （2007）；《所谓行为》（2008）； 《江湖》（2009）。
江湖 Groups 王震 李振华 WANG Zhen LI Zhenhua 纪录 Documentary ｜中国 China 2009 ｜ DV ｜ 35min CIFVF 2010 很惊讶这是一部由两位学生拍摄 2010 中国纪录片交流周 China Documentary Film Festival, 2010
浙工大屏峰
10/16/13:30
的纪录片：用心专注、态度良好、 沟通充分，分寸恰当。《江湖》的 片子不少，但可保证的是：这部 《江湖》的质量是相对较高的。他 们能够深入到这个“公路群体”中 去，可见融入生活的能力和决心。 王震说他不认为自己是导演，只是 一个纪录者而已——这是一个谦 卑而理性的姿态，也是一位影像工 作者或者艺术家应该具备的素质。 当然，假设王震和李振华两位同学 希望有所新尝试，也就不必拘泥现 在的纪录方式，也许会有不同的体 验。片子的小缺憾还是有的：音乐 似乎不很贴合。（应亮） What surprised us is that this is a documentary shot by two students, who are absorbed in it with good attitude and communicate fully with proper discretion. There are a lot of films called “Jiang Hu”, but what we can assure is that the
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WANG Zhen, an undergraduate of Shandong University of Art and Design. LI Zhenhua, an undergraduate of Shandong University of Art and Design. Their films include Chang Qing(2007),What is Called Behavior(2008),Groups(2009).
quality of this film is relatively high. They can go deep into the Highway Group, from which we can see their ability and determination to melt themselves into life. Wang Zhen said that he didn’t think himself a director, but just a recorder. This is a humble and rational gesture, and also a quality that a filmmaker or artist should possess. Of course, if Wang Zhen and Li Zhenhua wanted to try something new, they needn’t stick to the current recording mode rigidly, thus, they maybe have a different experience. There is also a small defect of this film, namely, the music doesn’t seem very fitting. ( YING Liang )
CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
薛鉴羌 XUE Jiangqiang 山西人，中学辍学，从事过铸 铁工人、洗车工人、理发师、 电脑配送、动画师等工作，一 直进行写作和绘画创作，有动 画作品 10 余部，剧情短片作品 10 余部，纪录长片 2 部。有作 品《三只小动物 1》（2008）， 《三只小动物 2》 (2009)，《火 星幺宗合症》（2009），《我 年轻时也打老虎》（2010） Xue Jianqiang left home at age sixteen. He has had jobs in a steel mill, a car wash and a hair salon as well as taught computers and worked as an animation technician. An avid writer and draughtsman, he has produced over dozens of animation and fiction short films to date. Three Small Animals is his first featurelength documentary. His films include Three Small Animals1 (2008), Three Small Animals2 (2009), Martian Syndrome (2009), I Beat Tiger When I Was Young (2010).
三只小动物Ⅱ Three Small Animals Ⅱ
依旧是第一部里的那三个孩子，制作时 间隔了近 2 年，他们过去的一部分生命 特征被延续，但又有了非常多新的追求 和烦恼等等。短短两年间，孩子们“变” 了。CIFVF 之所以放这一部，那是猜测 也许观众们可体味到时间的力量，并可 更多了解薛鉴羌的创作成长道路。薛导 演一年来的变化也非常多，按他自己的 说法是：成名了，有了很多奖，于是不 能再装可怜追求姑娘了。（应亮）
薛鉴羌 XUAN Jianqiang 纪录 Documentary ｜中国 China 2009 ｜ DV ｜ 20min CIFVF 2010
浙工大屏峰
10/16/13:30
Although it has been two years since the last film named “Little Small Animal1”’ production, three kids who shown in the last film will appear in the new one. Some life characters of the kids’ past will be continued, in addition, some new pursues and troubles will be added to the new film. The three kids have changed in just two year. So CIFVF have a conjecture: audiences may wonder what the kids like in two year are. That’s why we will show this film in the film festival, besides, people can have an understanding of the process of Xue Jianqiang creative work through this film. A lot of changes have taken place in the Director Xue Jianqiang, and he said that since now he is famous and have gained a lot of awards, so it’s not proper to hit on girls ever. ( YING Liang )
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CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
潘志琪 PAN Zhiqi 浙江温州人，独立导演，先后 就读于西安美术学院、北京电 影学院，现于杭州做老师。有 作品呢《侦探》 （长版） （2008）， 《侦探》（短版）（2009），《迷 墙》（2010）
侦探 Private Detective 潘志琪 PAN Zhiqi 纪录 Documentary ｜中国 China 2009 ｜ DV ｜ 47min CIFVF 2010
2010 中国纪录片交流周 Documentary Film Festival China, 2010
新远国际影城★
10/20/14:00
看过的纪录片以千计，现在想起来 记忆深刻的，不外乎其中有：有趣 的人物、一段离奇的经历或者是导 演不同寻常的视角……每看一部 电影， 无论是剧情片或者是纪录片， 我都有一种期待，期盼它能给我些 “意外”，能让我有更多的机会去 体验人生的波谲云诡、迷离惝恍。 《侦探》找到一位有趣的人物，跟 随着他，我们来到了一个仿佛很熟 悉却又有点异样的世界。如果作者 拍摄的时间再长一点，我以为影片 会更有趣。（周浩） HAFF2011 42
I have watched more than a thousand of documentaries. And what have characterized those impressive works among them are either the peculiar characters, extraordinary experience of those people or the unusual perspectives of the filmmakers’…Every time when I watch a film, fictional or documentary, I have sort of expectation, the expectation for “surprises”, which I hope would take me through the ups and downs of human life, and to experience the twists of our mundane world. This film has fortunately found itself a peculiar character. Following his footsteps, we are able to encounter a seemingly familiar but rather bizarre world. I think this work would be more palatable if the filmmaker has spent more time with his subjects. ( ZHOU Hao )
Pan Zhiqi,born in Wenzhou, Zhejiang Province. He’s an Independent director, studied in Xi’an Academy of Fine Arts and Beijing Film Academy. Now, he is teaching at Hangzhou. His films include Private Detective (long version) (2008), Private Detective (short version) (2009), The Lost Wall(2010).
CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
温凌 WEN Ling 1976 生于北京。2000 毕业于中 央美术学院版画系。现居北京。 有作品《54boy》（2009）。 Wen Ling, born in Beijing, China in 1976.. 2000 BA, Printmaking, Central Academy of Fine Arts, Beijing.Lives and works in Beijing. His films include 54boy(2009).
54 boy 一直在豆瓣上看到温凌的漫画，他的博 客里还有很多纪录生活的照片，而这个 小动画应该也是他表达自己情感的一个 方式。看了动画在网站下的评论才知 道，这个动画开始制作于 2001 年，一 直做到 2003 年底才算做完，耗时 3 年。 温凌说这个动画最初是受到 Radiohead 的一部 MTV 的启发而做，然而他的 《54boy》却恰恰没有音乐。我一直纳 闷这个问题，发邮件问他怎么没有音乐， 温凌说这就是他的风格，动画就是没有 声音的，我当然尊重作者的创作，于是 在动画后面打上括号：默片。我非常喜 欢最后游泳池的情节，浪漫又带有一些 小小的羞涩，哈哈，我也希望我的屋顶 是一个游泳池。（雷磊） I have always browsed Wen Ling’s cartoon strips on douban.com, where he’d post lots of pictures documenting his daily life. And I regard this cartoon film a way for self-expression.After reading the comments on the webpage of the cartoon film I came to know that the project of this cartoon film started since 2001, and finally finished till the end of 2003—taking 3 years to finish. The work was inspired by the MTV of RADIOHEAD, but the cartoon itself has no background music. Nevertheless sent Wen Ling email asking him why there’s no music, he
温凌 WEN Ling 动画 Animation ｜中国 China 2009 ｜ 2min CIFVF 2010
浙工大屏峰
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replied me that it’s his choice of style and the cartoon has no sound. I respect his choice, and marked this work as “silent film”. The part of the swimming pool is really something I like, which is romantic in a restrained way. Haha, I do hope that my roof could be turned into a swimming pool one day. (LEI Lei)
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CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
孙欣 SUN Xin 李云 LI Yun
ELYSIUM 孙欣 李云 SUN Xin Yun LI 动画 Animation ｜中国 China 2009 ｜ 7min CIFVF 2010 浙工大屏峰
10/15/09:30 It was in Stuttgart that I met the filmmaker of “ELYSIUM” Sun Yin. She is from Nanjing, and is living and studying in Germany. She told me that on douban. com there are people who don’t like their 在德国斯图加特我遇到了孙欣同 cartoons, commenting that they think 学，她是南京人，在德国留学和生 the protagonists are simply too ugly.After 活。她说在豆瓣网上有人不喜欢他 watching “ELYSIUM” again, I do think that 们的动画，觉得主角太丑了。重新 the protagonist looks like a little monster; 再看一次《ELYSIUM》，主角确 however the flicking pencil lines and the 实像个小怪物，然而不断闪动的铅 texture are quite compelling. Even if the 笔线条和肌理却十分吸引人， 即 whole cartoon is in black-and-white, I would still like it, including the cactus. 使整部动画都是黑白色调的我也 Till the end of the film, the blasting of 会十分喜欢，包括那盆光秃秃的仙 colors indeed surprises me---it has been 人掌。动画最后色彩的怒放给了我 romantic, wild and exciting. In our real 很大的惊喜，浪漫，放肆，兴奋， life, every young man hopes that they 都在颜色里，在生活里，所有年轻 could do whatever they like.Then why 人都希望蹦起来，跳起来，唱起来， not? Who has the final say regarding the 飞起来，为什么不呢？评判标准是 judging criteria? It doesn’t matter, since we just hope every voice could be heard 谁给的？无所谓，我们只是希望百 and respected. Therefore whether the 花齐放～所以，动画主角太丑了当 protagonist is good-looking or not is not 然不是问题，看看，我们的长得都 that important anymore; just think of the 不一样。( 雷磊 ) fact that we don’t really look alike.(LEI Lei)
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2003 年毕业于南京艺术学院。 2005 年考入德国卡塞尔艺术大 学视觉传达专业。2007 年开始 学 习 动 画， 并 开 始 以 SUN & EGG 的名字共同进行动画短片 创作。 SUN Xin graduated from Nanjing Art Institute,China,studied at University of Kassel-Art College since 2005.From 2007,SUN Xin and LI Yun began to work together as the SUN & EGG on animation short.Yun Li graduated from Nanjing Art Institute,China,studied at University of Kassel-Art College since 2005.From 2007,Xin Sun and Yun Li began to work together as the SUN & EGG on animation short.
CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
朱慧 ZHU Hui 象牙塔（朱慧）1985 年生人， 自由“坐家”，从事插画、动画、 漫画等工作和创作。2004 年， 毕业于广州美术学院附属中学。 2009 年，毕业于北京电影学院 动画学院。 Zhu Hui, born in 1985. Working as a freelancer in the fields of illustration, animation, comics and many other creative projects. 2004 Graduated from Attached High School of Guangzhou Fine Arts Academy. 2009 Graduated from School of Animation, Beijing Film Academy.
红领巾和练习本 The Red Scarf and Exercise Book
听说北影动画学院的某位老师说，“做 毕业创作，基本功好的同学做商业片， 基本功差的同学可以做试验片。”在这 样无知的动画教育下，象牙塔在学校中 显得格格不入，因为她的动画不够“商 业”，毕业时分数勉强及格。象牙塔在 毕业后继续做自己喜欢的动画，虽然制 作过程中经常为生计发愁，断断续续两 年后终于完成了这部《红领巾和练习 本》，细致的彩色铅笔线条，绚丽的颜 色，让我们在动画里看到了真诚，和儿 时甜美的回忆。就像动画里女孩吸着辣 椒花里的蜜，虽然甜味并不浓烈，但是 明显区别于工业化的罐头。还有，李星 宇和张萱为动画制作的音乐和音效，非 常优美而且贴切，给他们奖励每人一朵 小红花。（雷磊） Once heard from a lecturer from the Animation School of Beijing Film Academy, “for a graduation work, if your basic skills are solid then you could do a commercial film; if you are not, do a experimental one then”. Therefore Zhu Hui doesn’t seem to fit in the educational atmosphere as ignorant as this since her cartoon isn’t “commercial” enough, and her graduation grades just reached the passing mark. After graduation, Zhu Hui
朱慧 ZHU Hui 动画 Animation ｜中国 China 2010 ｜ 11min CIFVF 2010 2010 大声展 Get it Louder 2010
浙工大屏峰
10/15/09:30
continues to do her favorite cartoons, though during the production she also had to earn her living. After around 2 years working on this project from time to time, she finally finished the film. Very delicate color pencil lines, beautiful colors—the film makes us see her sincerity, and the wonderful memories of childhood. Just like the honey girl in the cartoon is sucking from the pepper flower, though the sweetness is a bit thin, it still could be distinguished from the industrialized products. In addition, Li
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CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
雷磊 LEI Lei
呼噜噜，轰隆隆，哗啦啦 Hululu 雷磊 LEI Lei 动画 Animation ｜中国 China 2009 ｜ 6min CIFVF 2010 2010InDpanda 国际短片节 InDpanda Short International Film Festival, 2010
浙工大屏峰
10/15/09:30
低幼并不难，但低幼至极了，就成 雷磊了，呵呵。以前是练习本、外 星人、鸭梨，这回是八位机的游戏 画面和声音。天朝这个环境，孩童 不受浸染都没可能，但某个成年人 却可童心不泯，既不二也不装嫩， 非常不易。我不懂动画，但正给雷 磊的片写评介， 但愿可以说对一些。 （应亮） It’s not difficult to be infant, but when a person gets extremely infant, he will become Lei Lei. Previously we have exercise books, aliens, pears, this time we have octet game screen and sounds. It’s impossible for children to stay not disseminated in the enviroment of Heaven, but it’s rather difficult for a certain adult to keep innocence and behave properly. I’m not good at animation, I’m just writing evaluations for Lei Lei , hoping I can say something right. (YING Liang)
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25 岁。 多 领 域 设 计 师， 涉 猎 领 域 包 括 动 画， 平 面 设 计， 短 篇 漫 画 和 hip-hop 音 乐。 2005 年在校期间组建设计团队 RAYDESIGN，2007 年 完 成 清 华美院装潢专业的学习，2009 年获得清华美院动画硕士学 位。他的动画作品多次在国内 外获得重要奖项。有作品《面》 （2007）， 《宇宙棉花糖》 （2008）， 《鸭梨还是外星人》 （2008）， 《彩 色魔方与乒乓球》（2009）等。 Lei Lei, Rising new generation animation artist with his hands on graphic design, illustration, short cartoon, graffiti and HipHop music also, in 2005 he already founded design group “Raydesign studio” when still in school . He now continues his study as a graduate student in Tsinghua University. His films include Face (2007), Cotton Candy Universe(2008), Pear or Alien(2008), Magic Cube and Pingpong (2009), etc.
CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
雷磊 LEI Lei 25 岁。 多 领 域 设 计 师， 涉 猎 领 域 包 括 动 画， 平 面 设 计， 短 篇 漫 画 和 hip-hop 音 乐。 2005 年在校期间组建设计团队 RAYDESIGN，2007 年 完 成 清 华美院装潢专业的学习，2009 年获得清华美院动画硕士学 位。他的动画作品多次在国内 外获得重要奖项。有作品《面》 （2007）， 《宇宙棉花糖》 （2008）， 《鸭梨还是外星人》 （2008）， 《彩 色魔方与乒乓球》（2009）等。 Lei Lei, Rising new generation animation artist with his hands on graphic design, illustration, short cartoon, graffiti and HipHop music also, in 2005 he already founded design group “Raydesign studio” when still in school . He now continues his study as a graduate student in Tsinghua University. His films include Face (2007), Cotton Candy Universe(2008), Pear or Alien(2008), Magic Cube and Pingpong (2009), etc.
这个念头是爱 谢谢雷磊不断送出轻松的态度和 观点啊！形成态度和观点不难，难 的是轻松彻底的表达；如同装成孩 子讲话不难，难的是完全和孩子一 样地讲话。简单至极的工艺，貌似 一个小笑话而已，捎带抽象的平板 画面，装饰性的几何造型。一个宏 大的并且烂俗的主题在雷磊这边 至少有了趣味。雷磊自己有个说唱 乐队，片子里的说唱之一就是他乐 队的小老虎。嗯…这是一群很棒的 年轻人， 说着说着好像我真的老了。 （应亮） Thanks for Lei Lei’s constantly sent relaxed attitude and perspective. It’s not difficult to form attitude and perspective, what really matters is to express them completely relaxed. It looks as if it’s not difficult to speak pretending a child, but difficult to talk like a child completely. The extremely simple crafts with abstract flatpanel screen and decorative geometric modeling just look like a small joke. A grand and vulgar theme can be at least interesting in Lei Lei’s side. Lei Lei says that he has a rap band, one of the singers in his band is the little tiger. They are indeed a great group of young people, when I am saying this as if I’m really old. (YING Liang)
This is Love 雷磊 LEI Lei 动画 Animation ｜中国 China 2010 ｜ 3min CIFVF 2010
2010 Alpha-ville 国际短片节 Alpha-ville International Short FF, London, 2010 2010 渥太华国际动画节最佳叙事短片 Best Narrative Short, Ottawa International Animation Festival, 2010
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CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
张弓 ZHANG Gong 1959 年生于北京 , 1993 年研究 生毕业于中央工艺美院，并留 校任教。致力于当代绘画。于 2002 年始制作动画艺术短片至 今。有作品《树》 （2003）， 《鸟》 （2004），《黑猪白猪》（2005）， 《思凡》 （2005）， 《红姐》 （2009）。
鸟 The Bird 张弓 ZHANG Gong 动画 Animation ｜中国 China 2004 ｜ 35mm ｜ 20min CIFVF 2010
让我变成一只鸟自由自在的飞吧。 关于追求自由的题材，不同的艺术 语言有很多类似的表达，而《鸟》 却给了我们一个悲伤的结局。 也许， 这正是现实，动画里所谓的天网， 已经无所不在。正巧在网上看到一 2004 里昂亚洲电影及文化节 个国际儿童绘画大赛， 题目是“我 最佳电影短片奖，最佳短片评委会奖 的中国”。孩子眼中，什么能代表 Best Short Film and Jury Award For Best 中国？糖葫芦，龙，大熊猫，荷花， Short Film, Asian Film & Culture Festival, 西游记 .. 呃，越少受意识形态束缚， Lyon, 2004 2005 德国汉堡国际短片电影节竞赛单元 越有想象力。（雷磊） International Short Film Festival Hamburg, 2004 2008 罗马无国界电影节 WITHOUT BORDERS Film Festival, Rome, 2008
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Let me be free like a stary bird! There’re variations of art languages describing pursuit of freedom nevertheless Bird offers an unhappy ending which maybe reflects the rality.So-called Skynet in this animation covers ever ybody everywhere. I was encounted with an international children paintings competition whose theme is My China. And what can represent China in children’s eyes? Tomatoes on stick? Dragon? Panda? The Pilgrimage to West? Or anything else? Less ideology, more imagination. (LEI lei)
Zhang Gong, born in 1959 in Beijing. Mr. Zhang completed thesis Graphic Design and Artistic Creativity Awarded a master degree from China Central Academy of Arts and Design, where he then went on to teach as an assistant professor in 1993. The main areas of his studies include animated art films and contemporary paintings. From 2002, Mr. Zhang has been making the animated films up to now. His films include Trees (2003), The Bird (2004), Black Pig White Pig (2005), Spring Mood (2005), Ms. Red (2009).
CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
张弓 ZHANG Gong 1959 年生于北京 , 1993 年研究 生毕业于中央工艺美院，并留 校任教。致力于当代绘画。于 2002 年始制作动画艺术短片至 今。有作品《树》 （2003）， 《鸟》 （2004），《黑猪白猪》（2005）， 《思凡》 （2005）， 《红姐》 （2009）。 Zhang Gong, born in 1959 in Beijing. Mr. Zhang completed thesis Graphic Design and Artistic Creativity Awarded a master degree from China Central Academy of Arts and Design, where he then went on to teach as an assistant professor in 1993. The main areas of his studies include animated art films and contemporary paintings. From 2002, Mr. Zhang has been making the animated films up to now. His films include Trees (2003), The Bird (2004), Black Pig White Pig (2005), Spring Mood (2005), Ms. Red (2009).
思凡
记得早期上海美术电影制片厂的动画片 是很多元化的，有剪纸动画，偶动画， 水墨动画等等。而如此多元化的动画语 言，如今却没有得到很好的继承。之前 记得有看过某些三维水墨动画的作品， 说实话并不喜欢，中国的水墨自有平面 的意境，做成三维后效果很奇怪，无非 是技术的炫耀，浮躁而且充满商业色彩。 而作为水墨动画，《思凡》让我很感动， 喜欢动画娓娓道来的节奏，喜欢很多镜 头的留白，也喜欢动画里悠扬的音乐。 水墨动画应该有自己独特的语言体系， 需要一代又一代人的继承和研究，不知 下一部精彩的水墨动画何时出现（雷磊） It’s such a shame we couldn’t inherit the multi-styles of our ancestors in Shanghai Animation Studio which include scissorcut animation, puppet animation, ink animation and so on.And I’m reminded some 3D-ink animation stuffs which honestly aren’t my type. Transferring classical Chinese ink abounding in planar flavor to grandiloquent 3D just boasts of technical and commercial effects. As a contrary Spring mood moves me a lot by its proper narrative rhythm, conscious vacant scenes and melodiously lingering music. We and the generations after need to research and carry forward our specifically systemized language of ink animation and I’m a little uncertain about the appear of next excellent one like Seduced by This World. (LEI lei)
Spring Mood
张弓 ZHANG Gong 动画 Animation ｜中国 China 2004 ｜ 35mm ｜ 10min CIFVF 2010 2007 年巴西国际动画电影节 OFFICIAL PANORAMA, International Animation Festival of Brazil, 2007 2008 年日本短片电影节 Short Shorts Film Festival, Japan, 2008
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CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
浅睡眠 Shallow Sleep 封零 狸空 Feng Ling Li Kong 动画 Animation ｜中国 China 2009 ｜ 9min CIFVF 2010
2009 英国东方国际电影节 Filming East Festival, 2009 2009 中国酷儿影像巡回展 China queer film festival tour, 2009 2009 第九届北京电影学院奖 Beijing Film Academy Award for Animation School, 2009
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动画里女孩躺下时，墙上看见了《黄色 潜水艇》，音乐让我想到《猫汤》，这 注定是一次充满幻想的旅行，我们还能 看到一些汤浅政明的影子…真想用吹风 机吹开女孩的长发，真想看见一只大鲸 鱼吃掉那只红色的墨鱼，真想开着哈雷 摩托追上那列火车，真想骑着大象飞上 天堂，真想扭一扭铁皮玩具的发条，真 想和他们的乐队一起摇啊摇，真想忘记 那些该死的爱情，真想有一次深深的浅 睡眠。（雷磊） When the girl in the cartoon lies down, she sees the “yellow submarine” on the ceiling, and the music reminds me of “Cat Soup” by Sato Tatsuo.This is destined to be a trip of fantasy, and we could also see Yuasa Maasaki’s influence there. I really wanna use the hairdryer to blow the hair of the girl’s; I really wanna see how a giant whale devours the red squid; I really wanna chase after the train on a HarleyDavidson motorcycle; I really wanna fly up to the heaven riding on an elephant; Really wanna wind the tin toy; Really wanna swing together with their band; Really wanna forget about the damn love; Really wanna have a deep, light sleep. (LEI Lei)
封零 Feng Ling（上） 狸空 Li Kong（下） 封零，本名高源，1986 年生于 昆明，2009 年毕业于中国传媒 大学（原北广）动画艺术专业。 狸空，真名岳明 , 从事插画、 漫画、架上创作等工作。 Feng Ling, real name Yuan Gao, born in Kunming, in 1986; Graduated from the Communication University of China, Animation Arts. Little Kong, real name Ming Yue, working in illustration,comic and painting.
CIFVF:Chinese Indie Fresh
CIFVF: 民间映画
于明 YU Ming 生于中国青岛，2009 年 7 月毕 业于山东工艺美术学院。 Yu Ming was born in Qingdao China, in July 2009, graduated from the Shandong College of Arts and Crafts.
自画像
记得有段时间在电驴上有大量的“原创 动画”下载，评分都很高。大多数是学 生毕业作品，并风格类似，《自画像》 和其他作品不同，营养并不来自流行文 化，虽然主角动作并不流畅，但是精致 的场景，优美的背景音乐，包括标题字 的设计，都是值得肯定的尝试。相比商 业味道浓郁的“中国独立动画”我更喜 欢《自画像》静悄悄地结尾，简单，充 满童趣。所以，请那些打着“原创”口 号的家伙不要再被日式商业动画电影冲 昏了头，也请暂时放下完成一个商业和 艺术通吃的伟大作品的冲动，照照镜子 看看自己，然后给自己画一张自画像。 （雷磊） I remember there was a time when lots of “original cartoons” could be downloaded from Emule, and they were all well received by the fans.Most of them are the graduation works by students and they share similar styles.But “Self Portrait” could be distinguished from those works, since it doesn’t get its inspiration from pop culture. Though the actions of the protagonist aren’t smooth enough, the delicate scenes, the beautiful melodies, the design of the titles are all something outstanding that we should recognize. Compared to those so-called “Chinese independent cartoon”, I’d prefer the lowprofile ending of “Self Portrait”, which is simple and full of the innocence of
Self-portrait
于明 YU Ming 动画 Animation ｜中国 China 2009 ｜ 5min CIFVF 2010
2009 北京电影学院奖 Beijing Film Academy Awards, 2009 2009 日本 TBS DIGICON 6 短片节 Japan's TBS DIGICON 6 Short Film Festival, 2009
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children.Therefore I hope our filmmakers won’t be over-influenced by the Japanese-style commercial Manga films under the banner of “original”, and don’t just insist on making a masterpiece which is successful both commercially as well as artistically. To filmmakers as such: look at yourselves in the mirror, and try to draw a self portrait of yourselves.(LEI Lei)
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MIDA: Asia New Force MIDA：亚洲新视野
雨果的假期｜ Hugo's Holiday ｜ 58
MIDA: 亚洲新视野单元 MIDA: Asia New Force
“MIDA 导演计划”是上海纪实频道（亦称真实传媒有限公司）与独立 制作人联合制作纪录片项目的简称，始于 2006 年，是中国第一个由电 视台发起的以“制播分离”模式和国际化理念制作纪录片的长期发展计 划。 MIDA 致力于纪录片的发展，主旨是“当代史”，思考和呈现人类历史 的深刻变化和当代社会的紧迫命题。 MIDA 的风格是 close, close, close ！我们希望离主人公再近一些、更近一 些……去感受他们的呼吸、心跳和命运；MIDA 是一本本鲜活的“个人 相册”，我们喜欢每一个活生生的人，并通过他们的生活、梦想和命运， 来折射我们所处的时代。 MIDA 致力于中国纪录片导演的国际化、专业化和职业化，我们支持导 演参与国际联合制作，了解国际纪录片制作理念和运作模式，并走上国 际主流播出平台、竞争国际奖项。 MIDA 每年都在继续，如果你对纪录片有着痴迷和直觉，却没有资金、 没有播出平台，找我们试试！ The “MIDA Filmmaker Plan” is the abbreviation for a documentary project created by Shanghai Documentary Channel (also called Docu China Media CO., LTD) and Chinese independent filmmakers. Set up in 2006, it is the first long-term documentary development plan launched by a Chinese TV station with a “separate produce-broadcast mode” and international coproductions. MIDA is devoted to the development of documentary. Its theme, “contemporary history”, concludes its target, to think and to present urgent arguments about profound change in human history and contemporary society. The style of the MIDA is close, close, close! We hope to be close and closer to the main characters… to feel their breath, heart beat and destiny; the MIDA are volumes of lively “photo albums” of characters who we love, and who we used to reflect the era we are through their life, dream and destiny. The MIDA program is intended to globalize, specialize and professionalize Chinese documentary directors. We advocate directors to take part in transnational collaboration, to know the concept and method of international documentaries, to step onto worldwide mainstream media and to compete for international prize. MIDA keeps moving every year. If you have passion and integrity for documentary, but are trapped with funding or have no broadcast platform, try to find us! HAFF2011 54
MIDA: Asia New Force
MIDA：亚洲新视野
徐童 XU Tong 1965 年生于北京。1987 年毕业 于中国传媒大学摄影专业。现 在工作生活于北京。有作品《麦 收》（2009），《算命》（2009）， 《老唐头》（2010）。 X u To n g , 1 9 6 5 B o r n i n Beijing.1987 Graduated from the Communication University of China with a major in film. Now living and working in Beijing. His films include Wheat Harvest (2009), Fortune Teller (2009), Shattered (2010).
闭幕电影 Closing Film
老唐头
Shattered 当一个人回头去看自己的一生，那 些可以串起来的记忆碎片，往往都 是曾在内心情感上激起过波澜的 悲欢；这些个人的悲欢往往又是其 所处社会与时代的巨浪冲击的结 果。这部影片通过一位普通老人对 自己人生经历的讲述，串起了一个 时代和一个国家的风雨变迁。 由于该片靠大量口述来完成，在叙 事手法与结构的结合方面很有挑 战性。（韩蕾） Going back to one's life, those memorable fragments are always the emotional changes, waves of joys and sorrows, in our hearts. Those individual joys and sorrows, sometimes, are small pieces in the historical society changes. The film, through a normal man’s life experience, features the big changes and revolutions of the country and era. Relying largely on the narrative, the film, challenges normal techniques in the combination of narrative and structure. (HAN Lei)
徐童 XU Tong 纪录 Documentary ｜中国 China 2011 ｜ HDV ｜ 104min MIDA 2010
第 35 届香港国际电影节 人道奖纪录片竞赛单元 The 35th Hong Kong IFF, Humanitarian Awards for Documentaries 获得第 15 届釜山国际电影节 亚洲电影基金 The 15th Busan Int. Film Festival, AND Fund
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MIDA: Asia New Force
MIDA：亚洲新视野
于广义 YU Guangyi 1961 年生于黑龙江林区，1986 年离开家乡，现生活于黑龙江 省大庆市，自幼酷爱绘画，结 业于中国美术学院版画系 , 有 过多年的版画创作经历。2004 年回到家乡开始纪录片拍摄， 跟踪记录乡亲们的生活，关注 中国社会巨变中小人物的情感 与命运。有作品《木帮》《小 李子》《光棍》等。
光棍 The Single Man 于广义 YU Guangyi 纪录 Documentary ｜中国 China 2011 ｜ HDV ｜ 57min MIDA 2010
导演最初想揭示一个复杂的社会 问题，最后却聚焦成了一个简单的 爱情故事。这份简单的爱之所以吸 第 35 届香港国际电影节 人道奖纪录片竞赛单元 引人，正是因其单向、单一、单纯， The 35th Hong Kong Int. Film Festival, 甚至明知没有任何结果。该片的镜 Humanitarian Awards for Documentaries 头以深切的理解和足够的耐心，描 第 15 届上海电视节白玉最佳亚洲纪录 述着主人公不被接受和理解的绵 片奖 长付出。光棍的爱情，是“一个人 The 15th Shanghai TV Festival, 的爱情”。（韩蕾） the best documentary award 浙工大屏峰▲
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Initially planning on revealing a complex social problem through his work, the director, however, focused into filming a simple love story at last. It is the innocent simplicity, crystal purity and one-side giving without demanding inside the film that make the simple love story so appealing. The movie, using a deep patient camera language, described the protagonist’s unacceptable and misunderstanding love. The single love of a single man! (HAN Lei)
YU Guangyi, born in Heilongjiang in 1961, left home in 1986 and now lives in Daqing City, Heilongjiang Province. Continuing his childhood love of painting, Yu graduated from The China Academy of Art, printmaking department and have many years of experience in the print creation. He returned to his hometown in 2004 and began a life of documentary photography, tracking record of villagers living; capturing the emotions and fates of the ordinary people in the big social changes in current China. His working includes of WOODS, SURVIVAL and THE SINGLE MAN etc..
MIDA: Asia New Force
MIDA：亚洲新视野
丛峰 CONG Feng 1972 年生于河北承德，毕业于 南京大学大气科学系，先后在 中国气象局和《国际先驱导报》 工作。印有诗集《那里有一列 我看不见的火车》、《一部雅 俗共赏的文学作品谢谢我也这 么认为》。2005 年回到甘肃古 浪县黄羊川开始拍摄系列纪录 片《甘肃的意大利》，之前已 完成两部《信仰》和《马大夫 的诊所》。《未完成的生活史》 是他的第三部作品。 Cong Feng, born in Chengde, Hebei Province, in 1972, g radu ated from N anj i ng University, Department of Atmosphere Science. He worked for China Meteorological Administration and later “International Herald Leader”. His works includes collections of poetry.In 2005, he returned to Gansu province Gulang county Huayangchuan and started working on his documentary series Italy in GAN Su. Formerly, He had produced two works, Faith and Doctor Ma’s clinic. The unfinished history of life is his third film.
未完成的生活史
The Unfinished History of Life
丛峰 CONG Feng 纪录 Documentary ｜中国 China 2011 ｜ HDV ｜ 108min MIDA 2010 第 4 届首尔国际数码电影节“白变色龙奖” The 4th Cinema Digital Seoul Film Festival, 这部影片给我们提供了一个难得 White Chameleon Award
的视角，让我们好像嵌入了片中人 物的生活和内心，去感受环境对人 的同化力量。人们的命运就像片中 那座旧校园中疯长的野草一样，既 粗野有力，生命力旺盛，又蕴涵着 不断循环的悲剧。在人和环境的变 迁中，不变的是什么？（韩蕾）
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This film provides us a unique point of view, makes us feel like imbedded into characters’ life and mind, to sense the assimilation that surrounding imposed. People’s destinies are like the spindling weeds at that old campus in the movie-both are wild, strong and vigorous, but at the same time implicate circulate tragedy. In the changing surrounding and human, what remained? (Han Lei) HAFF2011 57
MIDA: Asia New Force
MIDA：亚洲新视野
顾桃 GU Tao 1970 年出生于内蒙古呼伦贝尔 草原，毕业于内蒙古艺术学院 绘画系。2004 年开始纪录片拍 摄，处女作《敖鲁古雅·敖鲁 古雅》获得多个国际奖项。近 期拍摄的《我的身体你做主》、 《雨果的假期》、《神翳》以 独特的视角解读人性，令人过 目难忘。
雨果的假期 Hugo's Holiday 顾桃 GU Tao 纪录 Documentary ｜中国 China 2011 ｜ HDV ｜ 60min MIDA 2010 2011 山形国际纪录片电影节 “亚洲新浪潮”单元 2011 Yamagata Int. Documentary Film Festival, New Asian Currents
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是什么让母亲在自己的儿子面前 感到自卑？积压多年的母爱何以 宣泄和寄托？这部纪录片用极其 细腻的影像语言，揭示了游离在祖 先游牧生活与现代社会之间的一 对母子，既彼此牵挂又惧怕日渐疏 离的微妙情感，其如此动人，令人 过目不忘。（韩蕾） What makes a mother feel inferior in front of her son? How to express her long-suppressed love? This documentary examines the mother and son that stand between original nomadic life and modern society with its subtle visional expression, together with the sensitive feeling of both care towards each other and worry about gradual separation. So moving that deserves to be called unforgettable. (Han Lei)
Gu Tao, born in 1970 on the prairie in Hulunbeier, Inner Mongolia, was graduated f ro m t h e A r t C o l l e g e of Inner Mongolia University. In 2004, he began to work on documentaries, and his debut Aolu Guya won several international prizes. Those films he produced recently, Hugo’s Holiday, Shenyi bear unique understanding of humanity and leave the audience absorbed.
杭州亚洲青年电影节 官方合作媒体
TAIWAN New New Wave Cinema 台湾电影 新新浪潮
当爱来的时候｜ When Love Comes ｜ 69
台湾电影新新浪潮单元 Taiwan New New Wave Cinema
这次的台湾电影新新浪潮单元，最开始是以“伤痕”的概念起了头，想 为福岛核灾这个发生得如此当代、又如此接近的事件作一个延伸：人、 文明、与万物如何存有消亡，以台湾为起点的文化又是如何承受在变动 底下的冲击、磨合、以及无可挽回的失去。这样我们挑选了崔愫欣导演 与黄信尧导演不同关注的纪录片。后来此情渲染，在这么小的一座岛出 生、长大、生活，想象过去与未来，人和人之间的靠近让“影像”作为 收集、创作的素材，展现了台湾不同于其他土地对于传递故事的想象。 人与人一碰触、一彼此开放，便不免创伤，以此为开口，体认着在这座 岛上创作的抒情性，我们挑选了张作骥导演的新作、年轻创作者王承洋 导演、林冠慧导演的剧情短片、以及单忠伦导演的动画片，在内容上看 见属于亲情的、爱情的、性别的、公民社会的、以至环境保护的多重议题， 手法上也各有急缓风格。 我们的距离单位很短，眼睛可以专注到几乎失焦模糊，以此为滤镜看向 时代，希望在试着呈现特殊性的同时，守着为杭州亚洲青年电影节规划 这个单元，多元引介台湾新一代电影创作面向的初衷。 “Taiwan New New Wave Cinema” was started with the conception of “scar”, intending to make an extension of the Fukushima Daiichi nuclear disaster, which is extremely close in both time and space: how humans, cultures, and everything else exist and disappear, and how cultures centered around Taiwan are experiencing outside impact, adaptation, and inevitable loss with changes in the society. Therefore, we selected documentaries with different focuses by Tsui Shu-hsin and Huang Hsin-yao.With this kind of sentiment, we reflected on being born, growing up, and living in such a small island and imagined the past and the future. Through human contact, image is used as a method to record, demonstrate, and spread the variety of cultural traditions in Taiwan. Wounds are inevitable once humans meet and open themselves to each other; they serve as a cut-in point, enabling us to feel the lyricism of creating on this island. We selected a new film by Tso-chi Chang, works from a young director Cheng-Yang Wang, a short film by Kuan-hui Lin, and a cartoon movie by Chung-lun Shan¸ with various styles and topics including family, love, gender, society, and environmental protection. The focus might be so detailed that our eyes get misted, and taking this as a filter to look at the era, we hope, while trying to demonstrate the uniqueness, that we are able to maintain the original goal of planning the program for HAFF, which is to introduce the different aspects of the new generation of Taiwanese films. HAFF2011 62
TAIWAN New NEW Wave 台湾电影 新新浪潮
黃信堯 Huang Hsinyao 1973 年台南出生，台南艺术大 学音像纪录研究毕业，纪录片 作品擅长以戏谑的口吻道出青 春的梦想与失落，以其幽默的 叙事凸显人生的荒谬意境。曾 以六年级世代的私电影《唬烂 三小》获金穗奖最佳纪录片等。 而话题人物柯赐海纪录片《多 格威斯面》则获台湾纪录片双 年展入围。近作海口影像诗《带 水云》甫获巴西国际环境影展 竞赛类入围等。现居台南县七 股乡，创立「出日头音像农场」， 目前亦为纪录片工会之常务理 事。 Huang is an independent filmmaker based in Tainan, Taiwan. Educated at the Tainan National University of the Arts’ Graduate Institute of Sound and Image, his works have been featured at international film events such as Kassel’s documenta , Durban Film Festival in South Arica and MOMA in New York. Huang currently runs Sun Studio Taiwan, a independent production company in Taiwan, and serves as executive director of Taiwan’s Documentary Media Workers’ Union.
沈没之岛 TAIVALU
黃信堯 Huang Hsinyao 纪录 Documentary ｜台湾 Taiwan 2010 ｜ FULL HD ｜ 79min
人与水文、人与土地、人与异地、 人与故乡。纪录台湾的《带水云》 与看似观察吐瓦鲁实为反身思索 的《沉没之岛》，时而无奈、时而 乐天，为这些命题做了一体两面的 伤感的诗、与自嘲的荒谬剧。（罗 浥薇）
2011 年台北电影节，百万首奖 Taipei Film Festival, Grand Prize, 2011 第 45 届台北金马影展 Taipei Golden Horse Film Festival, 2010 第 10 届南方影展 South Taiwan Film Festival, 2010
新远国际影城★
10/18/14:00
People and hydrology, people and land, people and places, people and homeland. DAI SHUI YUN records Taiwan and TAIVALU seems to observe Tuvalu indeed selfreflection, sometimes reluctantly, sometimes positive, representing us both sentimental poetry, and selfdeprecating theater of the absurd. (Weiwei Lo) HAFF2011 63
TAIWAN New New Wave 台湾电影 新新浪潮
黃信堯 Huang Hsinyao
带水云 Dai Shui Yun (Nimbus) 黃信堯 Huang Hsinyao 纪录 Documentary ｜台湾 Taiwan 2010 ｜ 36min 2010 台湾国际纪录片双年展 评审团特别奖 Merit Prize for Taiwan International Documentary Film Festival 2010 捷克水与海洋电影节 最佳自由创作大奖 Best Free Production, the 7th IFF water, sea & the oceans, Czech Republic 2011 伦敦国际纪录片电影节 官方竞赛单元 2011 LIDF, the London IDFF
新远国际影城★
10/18/14:00
HAFF2011 64
人与水文、人与土地、人与异地、 人与故乡。纪录台湾的《带水云》 与看似观察吐瓦鲁实为反身思索 的《沉没之岛》，时而无奈、时而 乐天，为这些命题做了一体两面的 伤感的诗、与自嘲的荒谬剧。（罗 浥薇） People and hydrology, people and land, people and places, people and homeland. DAI SHUI YUN records Taiwan and TAIVALU seems to observe Tuvalu indeed selfreflection, sometimes reluctantly, sometimes positive, representing us both sentimental poetry, and selfdeprecating theater of the absurd. (Weiwei Lo)
1973 年台南出生，台南艺术大 学音像纪录研究毕业，纪录片 作品擅长以戏谑的口吻道出青 春的梦想与失落，以其幽默的 叙事凸显人生的荒谬意境。曾 以六年级世代的私电影《唬烂 三小》获金穗奖最佳纪录片等。 而话题人物柯赐海纪录片《多 格威斯面》则获台湾纪录片双 年展入围。近作海口影像诗《带 水云》甫获巴西国际环境影展 竞赛类入围等。现居台南县七 股乡，创立「出日头音像农场」， 目前亦为纪录片工会之常务理 事。 Huang is an independent filmmaker based in Tainan, Taiwan. Educated at the Tainan National University of the Arts’ Graduate Institute of Sound and Image, his works have been featured at international film events such as Kassel’s documenta , Durban Film Festival in South Arica and MOMA in New York. Huang currently runs Sun Studio Taiwan, a independent production company in Taiwan, and serves as executive director of Taiwan’s Documentary Media Workers’ Union.
TAIWAN New New Wave 台湾电影 新新浪潮
崔愫欣 Chang Tso-Chi 从大学时代就开始参与环保运 动，毕业后在环境ＮＧＯ服务， 就读世新大学社会发展研究所 时，以环境纪录片《贡寮，你 好吗？》为毕业作品。现任绿 色公民行动联盟秘书长，纪录 片工作者，2009 年入选云门舞 集第五届的“流浪者计划”， 2010 年 7-8 月举办“纪录片与 社运的追寻之旅”旅行图文展 与系列讲座，目前正在筹划纪 录片的拍摄。 Because of her study in Law in the college days, Tsui ShinHsin participated some antinuclear activities, which later opened her mind to standing up for human rights and justice. After graduation, she continued her education in graduate school focusing on Social Transformation Study. She rent a place in Gongliao and joined a environmental group called "Green Citizens' Action Alliance." She devoted six years of her anti-unclear life into making the documentary film - "How are you, Gongliao?" Her current plan is to bringing her work to every corner in Taiwan and showing the tears and pain of Gongliao's residents behind their struggle to survival.
贡寮 你好吗 ? 以书信为引线，不急不徐地道出贡 寮乡硬蕊的反核四抗争史，大叙事 里见柔情，小人物中见时代，环保 议题带出台湾政治变迁史，最末回 归生存与活着最基本的坚持与热 望。这些珍贵的影像纪录直至今日 仍可引以为鉴，是为小人物对抗国 家机器血肉模糊屡败屡战的动人 补遗。（罗浥薇） Leading by the letters, this movie illustrates the history of anti-nuclear protest in a proper rhythm which happens in Gongliao Town. And you can find tenderness in a large narrative, great era in ordinary people, as well as environmental issues with the political changes in Taiwan history in this movie. At last director returns to the most basic thing, eagerness and insist of keeping alive. We can still learn a lesson from these valuable images until today as a copy of common people fighting against the state machine bloodily and continuously. (Weiwei Lo)
How are you, Gongliao ? 崔愫欣 Chang Tso-Chi 纪录 Documentary ｜台湾 Taiwan 2004 ｜ DV ｜ 89min
第二十七届台湾金穗奖最佳纪录 DV Best Documentary, the 27th Golden Harvest Award, Taiwan 2004 第四届南方影展观摩影片 South Taiwan film and Video Festival, 2004 2005 第二届韩国首尔国际绿色电影节 2nd Green Film Festival in Seoul, 2005
浙工大屏峰▲
10/15/13:30
HAFF2011 65
TAIWAN New New Wave 台湾电影 新新浪潮
林冠慧 Zoé Lin 生于 1977 年 8 月 20 日。私立 世新大学广播电视电影学系电 影组、国立台北艺术大学电影 创作研究所导演组毕业。
时代照相馆
Zoé Lin.Born in Taipei City in Aug. 20th, 1977. Graduated from“BF&TV ,Television and Film, Shih Hsin University, Taiwan.”, Taipei National University of Art, Major in Director, Graduate School of Filmmaking.
Time Lapse 林冠慧 Zoé Lin 剧情 Fiction ｜台湾 Taiwan 2009 ｜ 30min 第 12 届台北电影节台北电影奖竞赛单 元 Taipei Film Festival Taipei award, 2010 2010 香港亚洲电影节亚洲短打 Hong Kong Asia Film Festival, 2010 2010 以色列特拉维夫国际学生电影节 竞赛单元 The 13th Tel-Aviv International Student FF
浙工大屏峰▲
10/16/18:30
以清淡魔幻的手法带出两代的理 解与和解，这是对于影像物质性的 乡愁，也是关于一直把故事说下去 的期待与可能。（罗浥薇） This movie illustrates the understanding and reconciliation between two generations in a mild and magic way. It is a nostalgia of image material, but also the expectations and possibilities of keeping telling stories. (Weiwei Lo)
HAFF2011 66
TAIWAN New New Wave 台湾电影 新新浪潮
王承洋 Cheng-Yang Wang 国立台北艺术大学电影创作所 毕业。致力于影视创作，其作 品细腻，情感丰富，充满了对 人及对家庭的依恋。其中《光 之夏》、《如果你爱我比较深》 入围金马最佳创作短片，作品 还有剧情片《生日愿望》，纪 录片《当我们同在一起》。 Cheng-Yang Wang obtained an MFA from the Graduate Institute of Filmmaking at Taipei National University of the Arts. While studying at school, he directed the short films SUMMER MAGIC and IF YOU LOVE ME MORE, which were both nominated for Best Short Film by the Golden Horse Awards. His other works include BIRTHDAY WISH and the documentary 4EVER KIDS.
生日愿望 Birthday
王承洋 Cheng-Yang Wang 剧情 Fiction ｜台湾 Taiwan 2009 ｜ 30min
通俗的故事、不通俗的处理手法， 用近乎密室的空间把人物、事件、 与关系做了精彩的调度及饱和的 情绪处理，让我们重新体会影像作 为其中一种说故事的方式其特殊 且动人之处。（罗浥薇） A popular story, but the approach is not popular, it dispatches wonderfully characters, events, emotion and relationship in a space kind of Chamber of Secrets characters, let us re-appreciate the image as one way to tell stories and its specially moving parts. (Weiwei Lo)
第三十三届台湾金穗奖，首奖 The 33rd Golden Harvest Award, Taiwan, Grand Prix Award 第 16 届香港 ifva 短片节 亚洲新力量组入围 2011 IFVA, Asian New Force, Hong Kong 第 16 届波兰洛兹国际 电影与电视学校电影节，首奖 16th International Film and Television Schools' Festival "MEDIASCHOOL 2009" 第 53 届亚太影展最佳短片入围 Asia Pacific Film Festival, 2009
浙工大屏峰▲
10/16/18:30
HAFF2011 67
TAIWAN New New Wave 台湾电影 新新浪潮
单忠伦 Jolen Shan
绿·柳 The Green Willow 单忠伦 Jolen Shan 动画 Animation ｜台湾 Taiwan 2010 ｜ HD ｜ 11min 第三十三届台湾金穗奖 The 33rd Golden Harvest Award, Taiwan
浙工大屏峰▲
10/16/18:30
从最古典处出发，这不是一个简单 的爱情故事，暴力的不只是点下守 宫砂的父权，同时是以爱为名视女 性为财产的恨意。在点明女性桎梏 的同时，以动画想象与水墨哲学超 越控诉，表达了天地不仁、以万物 为刍狗的宽阔宇宙观。（罗浥薇） Starting from the most classic place, it is not a simple love story, Fatherhood showing from an ancient test of virginity is not the only violence source, as well as the hatred of women in the name of love and possess them as property. This movie highlights women in cage and at the same time surpasses the complaint by animation imagination and waterink philosophy , expressing the wide worldview of world benevolent to all things as straw dogs. (Weiwei Lo)
HAFF2011 68
出生于台北市，在从事数年动 画相关工作后，进入国立台湾 艺术大学多媒体动画艺术研究 所就读，开始动画叙事研究及 动画艺术创作。2006 年考取教 育部艺术与设计菁英海外培训 计划，以公费至澳洲、纽西兰 学习数字媒体艺术。 Jolen Shan was born in Taipei Taiwan. After a career in animation spanning many years, He was entered the National Taiwan University of Arts (NTUA) and began research on animation narrative and animated films creation. In 2006, he passed the government exam which funded his animation studies abroad to Australia and New Zealand for one year.
TAIWAN New New Wave 台湾电影 新新浪潮
张作骥 Chang Tso-Chi 张作骥，毕业后八年，跟随过 徐克、侯孝贤等导演。首部电 影制作为《暗夜枪声》，因故 未能于台湾上映。1996 年自编 自导电影《忠仔》，引起国际 影展的重视。2010 年新作《当 爱来的时候》破台湾影史纪录 入围金马奖十四项大奖，勇夺 金马奖“最佳剧情片”等四项 大奖。张作骥获得台湾国家文 艺奖。 Chang Tso-Chi worked as Hou Hsiao-Hsien’s first assistant director on “City of Sadness.”His first work “Ah Chung,”(1999) a story demonstrating a special Taiwanese ceremony Ba Jia Jiang (Eight Generals). And his latest work “When Love Comes” was well received by audiences and garnered considerable critical acclaim, winning several awards. Due to his outstanding works in film, Chang Tso-chi is announced the winner of National Award for Arts.
当爱来的时候 When Love Comes 张作骥 Chang Tso-Chi 剧情 Fiction ｜台湾 Taiwan 2010 ｜ 35mm ｜ 107min
2010 年釜山影展大师放映单元 Busan IFF, Gala Presentation,2010 2011 年东京 FILMeX 国际电影节竞赛单元 Tokyo FILMeX,2011 2011 年鹿特丹国际电影节竞赛单元 Rotterdam IFF, 2011
接续着张作骥对中下阶层家庭的 关注，本片以巧妙的对照结构和细 致的情感刻画，将女性坚韧的生命 力和人与人之间以爱紧密连结的 图像，做了感人至深的脚注。（罗 浥薇）
新远国际影城▲
10/17/14:00
Continuation of the Chang’s focus on lower-middle class family, When love comes puts a moving footnote to the image of women's vitality and tenacity and the intimacy between people tied by love in a subtle comparison structure and exquisite emotion. (Weiwei Lo) HAFF2011 69
HKAPA Selections HKAPA 精选放映
摆渡的岁月｜ A Ferry Tale ｜ 73
HKAPA 精选放映单元 HKAPA Selections 杭州亚洲青年电影节是一个关心“电影教育”的青年影展，我们希望在未来可 以发起并促成更多与传统或非传统的电影教育相关的节目单元。 作为杭州亚洲青年电影节前身的杭州大学生电影节，去年的最大赢家莫过于香 港演艺学院电影电视学院（HKAPA）的三部学生作品，他们让评委们惊叹不已。 于是，我们今年将系统性地介绍 HKAPA 的过往学生作品，完成这样一个教育 专场的放映，希望对中国大陆地区的学生创作者形成一些催促和影响。 在这六部作品中，2007 年制作的《摆渡的岁月》，以非一般时事纪录片的角度， 记录了中环码头钟楼拆卸事件，其中的人文关怀，更深刻地展现出钟楼在香港 人心目中的文化价值与地位；《您好，凉平》与《枉少年》同为描写少年人生 活，前者甜美隽永，后者则直指现实，白描校园内欺凌事件，戏剧张力令人屏 息；《拾兄妹》借着婆孙共同面对贫穷与物质诱惑的处境，展现了对下一代美 好善良的盼望；《行僧》与《楼上传来的歌声》，无论题材与处理手法均独树 一帜，《行僧》中的行僧是否作伪？真我又是什么？令人省思。《楼上传来的 歌声》探讨精神病患者与自身疾病搏斗的心路，有别于一般对精神病患者的典 型描写，真切关怀其境与需要，深刻难忘。 HAFF is a film festival concerned about the “film education”. We hope to bring up more and more programs relative to both conventional and unconventional film education in the future. As the predecessor of HAFF, Hangzhou Student Film & Video Festival (HSFVF) saw the great success of the three works made by student filmmakers from the Hong Kong Academy for Performing Arts (HKAPA) on last year’s competition. At this time last year, their works almost marveled all the jury members. So, this year, we decide to systematically introduce previous works made by HKAPA students. By showing such a special program together with the communication afterwards, we hope to create a sense of urge and influence among the Mainland student filmmakers. As one of the six works, A Ferr y Tale made in 2007 records the disassembling of the bell tower in Central harbor with a viewpoint different from the conventional documentary. The humanistic care imbedded inside profoundly proves the tower’s cultural value and statues for Hong Kong residents. Good Day, Ryohei and Wasted both depicts the life of the young generation. The former one is sweet and meaningful, while the latter one pierced directly into the reality with the simple but breath-taking narration about the violence in campus. Poor Bro, Rich Bro shows the beautiful hope for the next generation through the depiction of how the grandmother and grandson faced poverty and the material temptation. The Monk and Upstairs advocate something unique, both in subject and in method. Does the monk in Monk tell the truth? What is the definition for real self? The works is worth pondering. Upstairs explores the sprit experience of how a psychopath fight against mental illness. The picture shows earnest care towards the situation and the need, profound and unforgettable, with an untypical depict of psychic patient. HAFF2011 72
HKAPA Selections
HKAPA 精选放映
关文轩 KWAN Man-hin 加拿大多伦多大学毕业，主修 艺术。香港演艺学院电影电视 学院主修导演。 KWAN Man-hin, Graduated in University of Toronto 2005, Major in Studio Arts. Graduated in Hong Kong Academy of Performance Arts, School of Film and TV, Major in Directing.
摆渡的岁月 A Ferry Tale
关文轩 KWAN Man-hin 纪录 Documentary ｜香港 Hong Kong 2007 ｜ DV ｜ 17min 2007 阿斯特拉国际电影节 ASTRA IFF, 2007 2007 香港国际电影节闭幕电影 Closing film, Hong Kong IFF, 2007 第四届云之南纪录影像展青年论坛 Yunnan Multi Culture Visual Festival, 2009
浙工大屏峰 ▲
《摆渡的岁月》以非一般时事纪录 片的角度，记录了中环码头钟楼拆 卸事件，其中的人文关怀，更深刻 地展现出钟楼在香港人心目中的 文化价值与地位。（高希伦）
10/18/13:30
A Ferry Tale records the removal of the campanile located at the dock of Central District in HK using a non-sinoreel news way. The human solicitude expressed in this movie reveals the cultural value and position of campanile in HK people’s heart. (Helen KO) HAFF2011 73
HKAPA Selections
HKAPA 精选放映
凌宇瀚 LING Yu Hon, Ernest 1981 年生于香港。2002 年毕业 于香港理工大学社会工作学系， 同年加入香港演艺学院电影及 电视学院，获颁录像制作文凭。 其导演作品包括 《甘笋惹的祸》 、 《好姊妹》及《您好·凉平》。 另外，凌氏于 2005 年获颁演艺 学院友谊社奖学金及电影及电 视学院院长奖学金，又于 2006 年获颁电影及电视学院导演奖。
您好·凉平 Good Day, Ryohei 凌宇瀚 LING Yu Hon, Ernest 剧情 Fiction ｜香港 Hong Kong 2005 ｜ 16mm ｜ 12min 第九届两岸四地学生电影录像节 香港地区大奖 Regional Award, Hong Kong & Macau Student Film and Video Festival, 2006 第六届南方影展 South Taiwan Film & Video Festival, 2006
浙工大屏峰 ▲
10/18/13:30
HAFF2011 74
中日混血儿原田拓也在上学途中，偶遇 香港中五女生江宁。宁与同学 Fanny 以 为拓也不谙中文，在小巴上高声讨论他 貌似她们的偶像日本组合 w-inds 的主 音歌手凉平。小巴突然急转，宁失去平 衡，整个人伏在拓也身上，不慎轻轻吻 了拓也一下，气氛顿时变得十分尴尬。 这天，江宁与拓也均被这一吻萦绕心头， 直至放学后两人再次相遇… A day in April. Takuya, a Hongkongborn Japanese young man, meets secondary school student Ning on the way to school in a mini-bus. Fanny, Ning’s classmate, thinks that Takuya may not speak Cantonese and starts commenting on how he resembles Ryohei, the vocal singer of their Japanese idol rock band, w-inds. The vehicle suddenly makes a sharp turn. Ning falls on Takuya and kisses him on the face accidentally. The incident not only embarrasses, but also creates a series of adolescent fantasies in the minds of, these two youngsters. What they can never imagine is that they’ll be running into each other again in that same afternoon when school finishes.
Ernest LING was born in Hong Kong in 1981. He graduated from the Hong Kong Polytechnic University, department of Social Work in 2002. After that, he joined the Hong Kong Academy for Performing Arts as a film and television production student, major in directing. He finished his own director’s work “Because of Carrot” , “Over the rainbow” , a TV studio drama production “Two Apples” and his first feature short “Good Day, Ryohei”. Moreover, Ernest got The Society of APA Scholarships and The School of Film & TV Dean Prize in 2005, and a Directing Award from The School of Film & TV in 2006.
HKAPA Selections
HKAPA 精选放映
李嘉儿 LEE Ka-yi, Vinccy 生于 1985 年，2008 年毕业于 香港演艺学院电影及电视学 院，获颁荣誉艺术学士，主修 导演及音响。作品包括《路》 (06)、《拾兄妹》(07) 及毕业作 品《白色高跟鞋》(08)。 Lee Ka-yi, Vinccy was born in Hong Kong, China in 1985. She graduated from the directing and sound department in the School of Film and TV at Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts degree (Honour) in 2008. She had also directed several short films and videos, including Missing Piece (06), Poor Bro, Rich Bro (07) and Missing Heel (08).
拾兄妹 Poor Bro, Rich Bro 讲一对“捡垃圾”的兄妹，本身题 材就已经很赚人眼泪。导演用平实 手法来表现，自是中规中矩，但有 些地方显得用力稍猛。比如对小演 员的控制痕迹过重，在配乐上的渲 染过多，台词也略嫌直白。不过， 整体看来仍是比较工整，首尾两段 含着淡淡的亲情与悲悯， 亲切动人。 （云中） The story is about a brother and sister who are rag pickers. The subject is already tear-jerking. But the filmmaker tries to tell the story naturally, despite of certain overdone scenes. For instance the control over the young actor/actress is much too obvious, and it’s too sentimental with the soundtrack, and the lines are not subtle as well. Still the whole work is a solid one, and the bond of brother and sister, the concern for them makes it a rather touching film. (Elliott LEE)
李嘉儿 LEE Ka-yi, Vinccy 剧情 Fiction ｜香港 Hong Kong 2007 ｜ 16mm ｜ 14min 第十届两岸四地学生电影录像节评审团 大奖及香港地区大奖 Top Honours Jury Award and Hong Kong Regional Award, Cross-Strait, Hong Kong & Macau Student Film and Video Festival, 2007 2008 巴塞罗那独立电影节 The l’Alternativa 2008 2009 葡萄牙 Espinho 国际电影节 FEST - IFF, Espinho, Portugal, 2009
浙工大屏峰 ▲
10/18/13:30
HAFF2011 75
HKAPA Selections
HKAPA 精选放映
许学文 HUI Hok-man
枉少年
Wasted
许学文 HUI Hok-man 剧情 Fiction ｜香港 Hong Kong 2006 ｜ DVCAM ｜ 21min 第 30 届香港国际电影节“鲜浪潮大专 生短片竞赛”最佳电影奖 The First Fresh Wave Joint-Universities Short Film Competition, 30th Hong Kong IFF, 2006. Best Film Award 第四十七届捷克 Brno Sixteen 国际电影 节学生组铜牌奖 Brno Sixteen (B16) International Competition, 2006 第二十六届德国慕尼黑 国际电影学院电影节 Munich International Festival of Film School, 2006
浙工大屏峰 ▲
10/18/13:30
HAFF2011 76
又一出“青春残酷物语”，反叛、 团伙、校园暴力，完成度算 OK， 情节上也有用心设计，但是这类的 东西难道拍得还不够多么？没有 新意的故事与手法，一味只识“扮 酷”，为了暴力而暴力。像此类作 品，如无在故事、人物、电影语言、 视野或情怀上有所突破的话，拍再 多也只是得个“枉”字。正因为是 学生作品，才更需要在创意上有所 为，才更需要天马行空、锐意进取。 （云中） Another tale of the cruel youth. Rebellion, gangsters and campus violence. I should say the completeness is fine, and the design of plot is also careful enough. However we seem to have too much similar works. The narrative and the style are not original, and sometimes are a bit over-exaggerated and the violence comes from nowhere in the film. For a work on such a subject, if there is no breakthrough in narrative, characters, film language and visions, it would be “wasted”. Exactly because it’s a student work, the innovation counts most. (Elliott LEE)
生于 1980 年，自幼即流连电影 院，未肯放过任何类型电影。 2001 年考入香港演艺学院电影 电视学院文凭班，2005 年获导 演系学士学位。期间导演过多 部短片，包括实验短片《Out 、 纪录片 《门内汉》 、 of Focus: AD》 剧情片《一击》等。 Frank HUI Hok-man was born on February 7, 1980 and is a fresh Bachelor of Fine Arts graduate from School of Film & Television of The Hong Kong Academy for Performing Arts.
HKAPA Selections
HKAPA 精选放映
陈兆禧 CHAN Siu-hei, Angus 香港演艺学院电影电视学院学 位课程三年级学生，主修导演。 导演短片包括《黑房》， 《夜》， 《命》，《行僧》及纪录片《的 士》等。 Angus Chan Siu Hei, is a third year student from the School of Film and Television at the Hong Kong Academy for Performing Arts, majoring in directing. Directed shorts include Darkroom, The Night, The Fate, The Monk and Taxi (documentary).
行僧 The Monk 陈兆禧 CHAN Siu-hei, Angus 剧情 Fiction ｜香港 Hong Kong 2008 ｜ HD ｜ 26min
以纪录片风格跟拍一个行僧的化 缘生活，借此展开众生群像，主旨 第三届鲜浪潮短片竞赛“鲜浪潮大奖” 在自我追问。手法运用自然，演员 及学生组“最佳电影奖” 表现尚佳。镜头试图深入这个僧人 Fresh Wave Short film Competition, 2008, 的内心与身份怀疑，但并不算很成 The Grand Prize and the Best Film Award in the Student Division 功。倒是结尾的“真假转换”给予 2009 西班牙奥伦赛国际电影节 了这部片子一些思考空间。 （云中） Ourense IFF, 2009 This film in a documentary style follows a monk begs for alms along his trip, and unfolds the stories of other related folks. The main purpose though is to explore one’s own self. The film is nicely done, and the performance is satisfactory. The camera tries to go deeper into the monk’s inner world and try to find out answers to his doubts about his own identity, but not successful. However the transition between reality and the fiction leaves much room for thought towards the ending. (Elliott LEE)
浙工大屏峰 ▲
10/18/13:30
HAFF2011 77
HKAPA Selections
HKAPA 精选放映
周冠威 CHOW Kwun-wai
楼上传来的歌声
Upstairs 周冠威 CHOW Kwun-wai, Kiwi 剧情 Fiction ｜香港 Hong Kong 2006 ｜ 16mm ｜ 30min 第二届 InDPanda 国际短片电影节 开幕电影 InDPanda International Short FF, 2006. Opening film 第十二届香港独立短片及录像比赛 公开组银奖 Hong Kong Independent Short Film & Vide Awards (ifva), 2007. Silver Award, Open Category 2006 法国里昂亚洲电影节 Lyon Asian Film Festival, 2006
浙工大屏峰 ▲
10/18/13:30
HAFF2011 78
一开始对影片处理对话场面的简单、夜 景拍摄的粗陋留下了一般的印象，但随 着故事的进展，在这些简陋的表面下面 开始渗出了丝丝温暖，诡异的是，还带 着丝丝的悬念。你像剧中的男主角一样， 不知道哪些人与声音是真的，哪些是他 的幻想。可以说这是部带有悬疑气息的 文艺片，或者是带有文艺气息的悬疑片。 当然在影片的后半段，悬念不再是悬念， 变成了对男主人公心灵的挖掘，可以说 是一次痛苦的面对自我的旅程。这是一 个不错的故事，导演也用了一种相对朴 实的讲述方式，收获了一部坚实、动人 的作品。（云中） The dialogue scene is much too simple, and the night scene is too rough. But with the development of the narrative, the warmth radiates, together with the sense of suspense, surprisingly. Like the protagonist, we are lost and could hardly tell the reality from his fantasy about the voices and the people he meets. It’s a film noir-ish art film, or a thriller dinted with the style of the soul of the male protagonist. And also a painful journey to confront oneself. It’s a great story and the filmmaker in his own way brings out a touching work. (Elliott LEE)
1979 年 于 香 港 出 生。2004 年 毕业于香港演艺学院电影电视 学院，主修导演，荣获一级荣 誉艺术学士学位 。二年级时完 成首部短篇剧情片《念》，毕 业作品为《嘛嘛的房门》获得 学院最佳导演奖。毕业后从事 多部电影的制作特辑导演及剪 接，其中包括李连杰主演的《霍 元甲》，也曾担任电影场记、 副导演、剪接等工作。2006 年 受聘于香港演艺学院。现为自 由身导演，最新导演作品为短 片《吉儿》及《敏感》。 Born in 1979 in Hong Kong, he was awarded the Degree of Bachelor of Fine Arts in Film and Television with First Class Honours at the Hong Kong Academy for Performing Arts (HKAPA). He majored in directing in 2004. His latest production is the 16mm short film “Sensitive”. Chow has been working as a part-time teacher at HKAPA since 2005.
Fade in:Chinese Post-1985 Directors 渐显：中国 85 后作者
自画像和三个女人｜ Self-Portrait with Three Wowen ｜ 85
渐显：中国 85 后作者单元 Fade in: Chinese Post-1985 Directors
今年的云之南影展上，突然出现了一批跟自己差不多大 85 后作者的作 品，他们的创作有态度有活度有腔调，让我这个同龄人既是兴奋又是充 满了各种嫉妒羡慕恨，于是一拍脑袋想出了这么个单元。其实至今我 都对自己这个单元策划人的身份自觉惭愧不已，不过是个搬运工而已， 把年轻作者的好片子搬到杭州来，即是这个单元的宗旨，若说起来，最 需要感谢的是云之南的选片人们的好品味。 在这个单元的筹备过程中，另一位策展人曾对这个单元进行过质疑，认 为现在 80 后作者的创作都还不稳定，还未成形，这么凭空冒出的 85 后 单元会不会太浮躁了。或许其他人也会有这样的疑问，毕竟 85 后这么 个不尴不尬的际代提法本身可能就有些问题的。但是在我看来，一个青 年影展保持年轻作者创作动态的敏锐嗅觉比单元设置浮不浮躁更为重 要，更重要的是单元所选的作品是否可以反映出现在这批 85 后作者的 创作方法与前行者之间的继承与发展，这才是我最希望观众从这个单元 中了解到的。（陆梦婷） There appears numerous artworks from the directors about my age in Yunnan Multi-culture Visual Fesival this year which makes me exited and jealousy, and then I want to introduce these young directors who all born after 1985 to Hangzhou audience. And during the preparation some friends has questioned me about the instability of these young directors works, whether this program is a little bit blundering. These questions causes me reflections and here’s the answer: As a film festival focusing on young filmmakers we need to put more attention to the tendency than mature. I hope to show the audience developments and heritages between these new filmmakers and their elders. (LU Mengting)
HAFF2011 82
Chinese Post-1985 Directors
渐显：中国 85 后作者
邓伯超 DENG Bochao 1986 年农历 2 月 22 日生，四川乐 山人。假期里在家陪爷爷奶奶种 竹子，收麦子，弹棉花；喜欢一 个人呆在屋里看书听歌，看电影； 惧怕人群，不爱出门，标准宅男， 严重自闭；与美女说话时会脸红， 心跳加速，举止不自然；每周打 一次飞机释放压力，写一首打油 诗发泄情绪；渴望一个女人，爱 自己的；渴望一份工作；自己爱的。 有作品《毒》（2008），《姐妹》 （2009），《纸飞机》（2009），《迷 失》（2009），《旅途》（2009）， 《余光之下》（2010），《麦客》 （2011）。 Deng Bochao, male, born in 1986, 22th of the 2nd lunar month, Le Shan, Sichuan. On holidays, he often helps his grandfather and grandmother plant bamboo, harvest wheat and fluffy cotton. He is fond of reading, listening to music and watching films alone. He has severe autism and is a standard Otaku. Once he talks to a female, his heart beats faster, and at the same time, he will blush and even behaves unnaturally. Every week he jacks off to release pressure, and write a limerick to vent emotions. He desires a woman loves him, and a job he loves. Following are his works, Toxic (2008), Sisters (2009), Paper Plane (2009), Lost (2009), Journey (2009), under the corner (2010), Mac (2011).
余光之下 Under the Split Light 邓伯超 DENG Bochao 纪录 Documentary ｜中国 China 2010 ｜ 130min
和吴昊昊比起来，邓伯超的《余 光 之 下》 在 题 材 上 没 有 那 么 尖 第二届北京新青年影像年度展 锐，老打老实地记录了海南客家 人道主义奖 Beijing New Youth Film Festival 传统文化，但是他的表现手法非 Humanitarian Award 常特别，在这部纪录片中的字幕 不再只是起到辅助解释作用，而 第五届云之南纪录片影像展竞赛单元 YUNFEST, Yunnan Multi Culture 是有点喧宾夺主地抢光了影像的 Visual Festival, Competition, 2011 风头，和“发癫“的字幕比起来， 北京国际电影季，纪录片展映活动 快节奏肾上腺素分泌旺盛的剪辑 Beijing IFF, 也是不遑多让，把这样一个古色 Documentary Screening, 2011 古香的题材拍出如此狂欢的风 格，实在有意思，因为艺术不是 浙工大屏峰▲ 是什么，而是以怎样的方式。（陆 10/19/09:30 梦婷） Compared with KUN1 Action, the topic of this film seems a little mundane. It’s about the traditional culture in Hainan province. However the director manages this topic successfully a n d w o n d e r f u l l y, l i k e t h e amusing subtitles and rapid HAFF2011 83
Chinese Post-1985 Directors
渐显：中国 85 后作者
吴昊昊 WU Haohao
ＫＵＮ１ 行动
KUN1 Action
吴昊昊 WU Haohao 剧情 Fiction 纪录 Documentary 采访 Interview 解构电影 Deconstruction film 行动电影 Acting film 中国 China ｜ 2008 ｜ 76min
第 28 届加拿大温哥华国际电影节 龙虎单元 Dragons & Tigers Award, the 28th Vancouver International Film Festival, 2009 第 27 届意大利都灵国际电影节 浪潮单元 Waves, the 27th Torino International Film Festival, 2009 第 39 届荷兰鹿特丹国际电影节 光明未来单元 Session of Brignt Future, the 39th International Film Festival Rotterdam, 2010
浙工大屏峰▲
10/17/09:30
HAFF2011 84
单讲这部电影，可能没有来讲作者吴昊 昊来得过瘾有趣，他非常有个性，这种 个性来源于对于前辈们的反叛，这小子 跟大闹天宫的孙猴子一样，先是批判电 影学院，接着还跟有国内独立纪录片“教 父”之称的吴文光叫板，现在又跟艾未 未一起捣鼓，他一直聪明地突兀地活着。 他的高产也让纪录片前辈们动辄数年的 创作周期看起来那么脚步缓慢，KUN 系 列一直在拍摄，而他对自己那西斯式的 迷恋冠上近来流行的“私影像”，使得 作品更加无所顾忌。但是在我看来，他 初开始诚挚的愤怒和不满转化为个人成 功符码之后，他后面的作品更多地是在 重复和变本加厉地表演这种符码，所以 对他来说，怎样突破现有这个循环才是 最重要，因为众声喧哗的当下，每个人 只能当十五分钟的名人。（陆梦婷） This film is the first of a series KUN films and the director Wu Haohao is betrayed like Monkey King who has criticized Beijing Film Academy and Wu Wenguang, the father of Chinese independent documentary, now he has a new movie about himself and Ai Weiwei. His narcissism action is called personal image, a popular method shooting documentary among Chinese independent productions which is led by Japanese director Kazuo Hara. The question is how long he can keep his characteristic and avoid them progressing into only a show. (LU Mengting)
昊昊出生在 86 年的中国，现在他 23 岁，是青年，好像早晨八九点 钟的太阳（毛泽东说）。在片中昊 昊经历大学、回忆、展望、共产主 义、社会等几个片段。大学生活的 糜烂与、在大学讲台上的一次演 讲、走到他人的世界中去感受、批 判与改造自己。在回忆中抓住爱情 的勃起，去寻找信仰的时间感。一 次次的想和不同的女子做爱，寻找 破碎后的永恒。离开大学，思考并 直接行动于世界共产主义，宣传着 自己新马克思主义诗意的世界观。 在革命墓地与街道的行为、在天安 门的呐喊。思考中国与世界，在世 界环境下是对后现代碎片的整合。 Haohao was born in 1986 in China. Now he's 23 years old. He is a youth, a youth like the early morning sun at 8 to 9 (a quatation from Chairman Mao). In the film Haohao went through college life, memory, prospect, communism society etc. and such fragments. Obsceneand dissolute life of college, a speech on the cillege dais, the feeling of enter to others’ lives, the criticization and reform of self. Seize the erection of love in memories to look for the time sense of belief. Expecting times and times again for making love with different girls, looking for the eternity after breaking. Think and take direct actions for the world communism after leaving the college to publicize his poetic world view on the NeoMarxism.Act in the cemeteries of revolutionary and streets, and his whoops in Tian'anmen Square. Contemplating China and the world is integration for the post-modern fractions in the world environment.
Chinese Post-1985 Directors
渐显：中国 85 后作者
章梦奇 ZHANG Mengqi 1987 年出生于湖北，2008 年 毕业于中央民族大学舞蹈学 院。居住北京，从事舞蹈剧 场及影像创作。曾创作剧场 作品《自画像及和母亲对话》 (2009)、《自画像及自我性教 育》(2010)、《自画像：47 公 里》（2011 年）。纪录片《自 画像和三个女人》 （2010 年）、 《自画像：47 公里》 （2011 年）。 Zhang Mengqi, born in 1987, graduated from the Dance Academy of China Minorities University in 2008. Now she lives as a freelance dancer / choreographer and documentary filmmaker in Beijing. She created dance w o r k s S e l f- p o r t r a i t a n d Dialogue with My Mother (2009), Self-por trait and Sexual Self-education (2010). S e l f- Po r t r a i t w i t h T h re e Women is her first feature length documentary.
自画像和三个女人 Self-Portrait with Three Women 章梦奇 ZHANG Mengqi 纪录 Documentary ｜中国 China 2010 ｜ 70min
章梦奇的这部作品实验，灵性，又 饱含深情，这部作品有着强烈作者 自我成长印记的作品，实属今年看 到的作品中最让我激赏的一部，作 者章梦奇也凭借这部纪录片入围了 今年的山形国际纪录片电影节，可 喜可贺。我想把这部作品推荐给每 位女孩看，因为你们会看到和自己 成长过程相似的同龄人的自我剖 析，很多时候我看着她，会有自我 凝视之感，这样的女性镜像诗，非 常值得一看。（陆梦婷）
首映于 2010 年草场地工作站，“交叉” Premiere at CAOCHANGDI Work Station, Crossing Festival 2010 台湾国际纪录片双年展 Taiwan International Documentary Film Festival, 2010 2011 年山形国际纪录片电影节 亚洲新浪潮入围 Yamagata Int. Documentary FF Asia New Currents, 2011
新远国际影城▲
10/19/14:00
This experimental movie is so poetic and inspiring; it’s like a mirror to all young girls in China because we share a lot in common with Zhang Mengqi, the woman director. And this documentary has just been selected for the Yamagata International Documentary Film Festival in Japan this year. (LU Mengting) HAFF2011 85
Chinese Post-1985 Directors
渐显：中国 85 后作者
邹雪平 ZOU Xueping 1985 年出生于山东滨州。2009 年毕业于中国美术学院新媒体 系。 居住北京， 从事纪录片创作。 《娘》（2008）是作者的第一 部纪录长片，《饥饿的村子》 是作者的第二部纪录片作品。
饥饿的村子 The Starving Village 邹雪平 ZOU Xueping 纪录 Documentary ｜中国 China 2010 ｜ 85min
首映于 2010 年草场地工作站 Premiere at CAOCHANGDI Work Station, Crossing Festival 尤伦斯当代艺术中心，2011 年 The Ullens Center for Contemporary Art (UCCA), 2011 2011 年芬兰坦佩雷国际电影节 Tampere International Film Festival, 2011
浙工大屏峰▲
10/16/09:30
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和章梦奇一样，女导演邹雪平也是 北京草场地里的年轻人，论起来都 算是吴文光的门下。不过两位女导 演的作者风格相差甚远，打比方来 讲一位是倚天剑，一位就是屠龙刀 了。《饥饿的村子》非常像一些国 内独立作者前辈们的风格，沉稳， 踏实，厚重，每一帧影像都坠上了 沉重的历史。（陆梦婷） This documentary is from another woman director Zou Xueping. However the massiness and profoundness of this work can’t be imagined from such a young lady which apparently is influenced by the elder independent documentary filmmakers. (LU Mengting)
ZOU Xueqing, born in Shandong Province, 1985, graduated at the New Media Department of The China Academy of Art. Mom (2008) is her first feature length documentary and The Starving Village is her second feature length documentary.
艺术行动主义。。。 Artivism...
CIFVF-HAFF
CAMPUS 1#
青年电影训练营
教学总监的话 ： 艺术行动主义
作为一个全免费工作坊，“青训营”似乎应当做得更谨慎，更有目标性， 也更有趣。因此，我们有必要重新对该教学项目进行一次更有前进余地 的表述。 “艺术行动主义”（Artivism）——这个混合词，看起来与“青训营” 是搭调的。尤其对照纪录片工作坊的教学目标及纪录片本身，几乎天然 一体；而同时，其对剧情片工作坊的教学也具指导性。 本期训练营共有 47 位报名者，最终选入 10 人，另加两位香港演艺学院 电影电视学院奖学金资助生，共 12 人。几乎可说，他们在思想、生活、 艺术和方法等方面，有所准备（尽管他们大部分是 85 后，还有一位 90 后）。站在这样的教学起点上，若再对“艺术行动”有所提醒，也许恰当， 也许会有一定的效率和效果。 而我们“青训营”自身，可能就是一次“艺术行动”。所有参与者：学生、 老师、工作人员，都是“艺术行动者”（Artivist）。我们不仅有行动， 也以创造性思维展开，与内外部沟通，并对公共空间做出回应。 在中国，“行动”这个词，要比被用滥了的“实践”更明确。栗宪庭电 影学校的校训是：“独立之精神，自由之思想，实践之能力”。而在“艺 术行动主义”里，“艺术”必然包含了“独立”和“自由”，而“主义” 也涵盖了“精神”和“思想”，那么“行动”恰恰是“实践”的替换词， 即“行动之能力”。——无论学生、老师、工作人员，还是“青训营” 自身，都需对社会、对他人、对自我有所行动（实践），并持续行动（实 践）下去。
教学总监 2011 年 9 月 4 日凌晨于北京通州运河旁
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Words from Education Director: On Artivism
Positioning itself as a workshop free of charge, the Talent Camp will be carefully organized, with its purpose reinforced and fulfilled in a fun way. Therefore it is necessary to explain about this educational project so we could better articulate the concept in the future. The combination of “Art” and “Activist” as “Artivism” exactly delivers the concept for the Talent Camp, which matches well the goal of the workshop and the functions of documentary itself. And for sure this idea is also instrumental for the fiction filmmaking. We have 47 applicants this year, with 10 finalists, plus two students supported by the scholarship from the Hong Kong Academy for the Performing Arts, so altogether we have 12. I have to say that all of them have somehow got their own ideas about life, art and the way of documentary filmmaking (though most of them were born after 1985, and one was born after 1990). Therefore it would be great if we integrate the idea of “Artivism” with our project, which will further facilitate the training. And the Talent Camp is in itself an instance of the “artivism”, in which all the students, lecturers and staffs become the “artivists”. Not only we have the action, we also nurture the creative thinking and make connection with the public space. In China, action seems to be more clearly defined than the oftused “practice”. The motto of Li Xianting Film School has been “Independent Spirit; Liberal Thoughts; Practical Ability”. In artivism, “art” is about “independence” and “freedom”, and “activism” itself is about a set of ideas and spirit, and “action” is exchangeable with “practice”, thus we have “the ability to take action”—no matter they are students, teachers, staffs or the Talent Camp itself, they all need to take action for the society, the others, or themselves and persist in doing so.
YING Liang Educatioon Director Morning of September 4, 2011. by the side of Tongzhou Canel, Beijing.
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导师 Mentors
应亮 大冢龙治 剧情片工作坊。剧情片导演，栗 剧情片工作坊。纪录片和剧情片 宪庭电影学校 2-7 期主讲教师， 导演、摄影师，栗宪庭电影学校 香港演艺学院驻场艺术家； 4-7 期主讲教师； 1977 年出生于上海； 1972 年生于东京。日本大学理工 2002 年任周传基老师助教； 科毕业后担任电视台导演； 2003 年开始独立电影创作； 2003 开始为 NHK 电视台拍摄纪 2008 年起担任重庆民间映画交流 录片； 展节目总策划； 2005 年开始在北京做中国电影； 2010 年，成为中国纪录片交流周 2010 年任“2008REAL 日本纪录 选片人、“大声展”电影部分策 片影像交流会”总策划； 展人，也为重庆民间映画交流展 代表作：《玲玲的花园》（导演 在中国各地以及伦敦、加的斯等 / 摄影师）、《透析》（摄影师）、 地策划了近十个巡回展 ； 《橘子皮的温度》 （摄影师 / 剪辑）。 代表作：《背鸭子的男孩》、《另 一半》、《好猫》和短片《慰问》。 Ryuji Otsuka Mentor of the Documentary YING Liang workshop. Documentary and feature film Mentor of the Fiction workshop. director, Lecturer of session 1-7 at Feature film director, Lecturer of session 2-7 at LXT Film School. LXT Film School. Art in residence at the Hong Kong 1972 born in Tokyo, worked as a director in a TV station after Academy for Performing Arts. graduating with a degree in science. 1977 born in Shanghai. 2002 worked as teaching assistant 2003 began filming documentaries to ZHOU Chuanji. for NHK. 2005 began working with Chinese 2003 began working with independent films. films in Beijing. 2008 worked as the program 2010 worked as the program director of CIFVF. director of “2008 REAL Japanese 2010 became a candidate of documentary conference”. the conference week of Chinese Representative works: documentaries and one of the LINGLING’s garden (as director curators of “Get It Louder”, and and photographer), Judge planned almost ten tour screenings (photographer), Warmth of orange of CIFVF in different Chinese cities, peel (photographer, editor). London, and Cadiz. Representative works: Taking Father Home, The Other Half, Good Cat, and short film Comfort. HAFF2011 92
冯艳 纪录片工作坊。纪录片导演，栗 宪庭电影学校 1-7 期主讲教师； 1984 年毕业于天津外国语学院日 本文学专业 ； 1988 年—2002 年留学和工作于日 本； 1994 年起开始用超 8 和 DV 制作 纪录片； 曾翻译《小川绅介的世界》、《收 割电影》； 代表作：《长江之梦》、《秉爱》。
张赞波 纪录片工作坊。纪录片导演，栗 宪庭电影学校讲座教师。 70 年代出生于湖南新邵县。 2005 年北京电影学院导演系硕士 毕业。 2009 年完成其第一部独立纪录片 《天降》的创作。 代表作：《天降》、《恋曲》、《有 一种静叫庄严》。
Zhang Zanbo Mentor for the Documentary FENG Yan workshop. Documentary filmmaker, Mentor of the Documentary lecture of LXT Film School. workshop. born in 1970s, Xinshao, Hunan Documentary filmmaker, Lecturer of Province. session 1-7 at LXT Film School. He graduated with a Master degree 1984 graduated from Tianjin Foreign in Film Direction from Beijing Language College as a Japanese Film Academy in 2005. A Song of Literature major. Love, Maybe is his second long 1988-2002 studied and worked in documentary work. His first long Japan. documentary Falling From the Sky 1994 started to film documentaries was produced in 2009. He finished with Hi 8 and DV. his most recent feature length Shisuke Ogawa’s World and documentary The Interceptor from Harvesting Films. My Hometown. Representative works: Dream of Yang-tsi River, BINGAI.
潘志琪 纪录片工作坊。纪录片导演。 70 年代出生于浙江金华。 2004 年开始独立纪录片、剧情片 和实验片的创作。 2010 年获北京电影学院艺术硕士 学位。 代表作：《侦探》、《迷墙》 。 PAN Zhiqi Mentor for the Documentary workshop.Documentary filmmaker. Born in JIN Hua, Zhejiang Province in the 1970s. He began to make independent d o c u m e n t a r y, f i c t i o n a n d experimental films since 2004. He held the MFA degree of Beijing Film Academy in 2010. Representative works: Private Detective, Lost Wall.
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青年电影训练营 爱《秒速 5 厘米》，爱《阿凡达》 爱金基德，爱有信仰的人
也 爱 追随“奎师那知觉”
我不是 影视专业学生 ，不是服装经营人 和你们一样， 我是顾晓刚。 一直非常热爱电影艺术 Fond of 5 Centimeters per Second and Avatar
Ki-duk Kim and people who have beliefs Krishna Consciousness I’m neithera film major nor in business with clothes Fond of
Follower of
I’m GU Xiaogang always in love with
film art as you are
纪录片工作坊
顾晓刚｜男｜中国 Documentary Workshope GU Xiaogang ｜ Male ｜ China 1988.08 ｜ 240914383@qq.com
创作年表： 《月亮圆了》（2010，剧情短片） 《NEW BLBANECE 》 （2010，广告） 《匡威》（2010，广告） 《永和豆浆》（2011，广告） 《4》（2011） 《樱风》（2011，MV） Filmograhy: The round moon (2010, Short Fiction) New balance (2010, Advertisement) Converse (2010, Advertisement) Yonghe soya bean milk (2011, Advertisement) 4 (2011) Yingfeng (2011, MV)
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纪录长片提案：《信仰者》 Feature length documentary project:Believer 晓刚阐述： 这是关于一个世界性宗教——“奎师那知觉”在国内如何进行公开， 并注册为国内第六大宗教的曲折故事。同时，通过影片呈现这些精神 追寻与守望的信仰者们，那份神秘而静谧的精神世界，而对身边人情 世故一种上善若水的对待，在现代人心躁乱的社会中，从中启发对心 灵净土的一份回望，回望心中的一份恬静，珍惜最真挚的善良，希望 能给人心灵以一股夏日清风徐过般的凉静。 Xiaogang’s statement: This is a complicated story about how a world religion, Krishna Consciousness, was made public and registered to be the 6th largest religion in China. Meanwhile, it is hoped that the believers of spiritual search and watch as well as the world of spirit demonstrated in the film will be like a refreshing breeze in summer, inspiring people to view things with a peaceful mind and provoking reminiscence of the Pure Land and tranquility in heart.
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青年电影训练营
爱 眷村，爱台哥 爱 读 张晓风，爱看《贡寮，你好吗？》
也爱修习瑜伽
我不是 80
后，也不是 85 后
我是李米杰。和你们一样，
想继续把自己的片子做完善
Fond of veteran communities and
Taiwanese boys
Fond of reading Hsiao-Feng Chang and Fond of practicing yoga watching How are you, Gong-liao? I’m neither a post-80 nor a post-85
I am LI Mijie. Always trying
to make my films perfect as you are
纪录片工作坊 李米杰｜女｜中国 Documentary Workshope LI Mijie ｜ Female ｜ China 1990.05 ｜ 287123083@qq.com
创作年表： 《爷爷的梦》（2010，剧情短片） 大学组二等奖，“百姓与世博”DV 纪录片大赛 入围作品，“我看世博”DV/DC 影像作品大赛 《上海妈妈》（2011，纪录短片） 入围作品，北京大学生电影节第 十二届大学生原创影片大赛 Filography: Grandpa’s dream(2010, Short Fiction) The second prize, Shanghai Expo DV Competition Shanghai Mother(2011, Short Documentary) Selected film, Beijing College Student Film Festival.
纪录长片提案：《小小的人》 Feature length documentary project: Little Minds in the Huge World 米杰阐述： 影片中的两代人，两条线索交织进行，一条线索是当时跟随国民党撤退台湾就再 也没回去的萧爷爷和张奶奶，他们的日常生活；另一条线是我作为交换生来到台 湾，由于两岸问题对爱情犹豫的心路历程。我听着他们那一代的讲述和看着他们 现在的生活，在影片中我用内心独白的形式去思考大事件之于小人物一生的影响， 去思考台湾现在和当年与大陆的关系，新的改变和限制，这个影片也是关乎自己 去和留问题的一个探寻。 Mijie’s statement: There are two generations and two threads of the plot that the film revolved around; one thread is the daily life of Mr. Hsiao and Ms. Zhang who went to Taiwan with the Nationalist Party and never came back to Mainland China; the other thread is my self-revelation when I was in Taiwan as an exchange student, hesitating about love because of the political issues. I listened to the elder generation and watched their life. Through monologues, I demonstrated my thoughts over how big events influenced the life of mediocre figures, over how Taiwan is related to Mainland in the past and present, and over new changes and limitations. This film is also to help myself decide whether I should leave or stay.
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青年电影训练营
爱《算命》，爱《志明与春娇》 爱自助游，爱看闲书 也爱写长篇讣闻
我不是 CCTV 人，不是毛左 和你们一样， 我是骆仪。 很多年前就对纪录片感兴趣 Fond of Fortune Teller and Love in a Puff Fond of travelling and reading for pleasure Fond of writing long obituaries I don’t work for CCTV, nor am I a Maoist leftist
I am LUO Yi. Having had an interest in documentaries since as you are many years ago,
纪录片工作坊 骆仪｜女｜中国｜ Documentary Workshope LUO Yi ｜ Female ｜ China 1981.07 ｜ luoxyi@yahoo.com.cn
创作年表： 《自梳》（2010，纪录短片） 最佳纪录片提名 英国 Exposures 电影节 最受观众欢迎奖 首尔国际女性电影节 学生类大奖 英国皇家电视学会（RTS） Fimography: Living without man (2010, Short Documentary) Nominated for the Best Documentary Award, Exposures Film Festival, UK. Audience Award, Seoul International Women Film Festival. Grand Prix Award of Student session, RTS.
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纪录长片提案：《毛主席万岁》 Feature length documentary project: Long Live, Chairman MAO
骆仪阐述： 54 岁的小商人商清瑞是个无名之辈，却有着一张全中国最著名的脸——他长得像 毛主席。为了不浪费这个上天给予的礼物，他开始在各种商业活动中扮演毛主席， 还在北京创办了个“伟人风采艺术团”，聚集起几十名特型演员在全国各地演出。 这个草台班子里，大多数人是半路出家，水平业余，但仍然接到很多演出邀请。 在台上，穿上戏服时，他们收获着群众的掌声和眼泪；在生活中，他们偶尔也以 “主席”“总理”相称，拿各自身份开开玩笑。戏里戏外，现实历史，平民伟人， 都交融在这个艺术团里。 LUO Yi’s statement: Shang Qingrui, a 54 year-old merchant, was a nobody, but he happened to have a face that was most famous in China – he looked like Chairman Mao. In order to make good use of this godsend, he started to act Chairman Mao in many commercial events and established “Great Man Acting Society” in Beijing which organized performances around the country for those who only acted certain roles. In this actor company, most people were only amateur actors but still received many invitations to performances. On the stage, wearing costumes, they gained applause and tears from the audience; in real life, they sometimes address each other as “chairman” or “premier”, joking about their positions. Drama and reality, present and past, as well as common men and great men, all existed in this acting group.
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青年电影训练营 爱写微博，爱去山西原平 爱大虎，爱偶偶 也爱做“花儿基金”
我不是新闻工作者，也不是杭州电视台的 我是苏家铭。和你们一样， 希望能够完成第一部纪录长片
Fond of Weibo, Fond of going to Yuan Ping, Shan Xi Love Dahu and Ouou
Fond of “the Bud Foundation”
I am not a journalist, nor do I work for Hangzhou TV Station
I am Su Jiaming.
Hoping to finish my first film-length documentary,
as you are
纪录片工作坊 苏家铭｜男｜中国 Documentary Workshope SU Jiaming ｜ Male ｜ China 1989.02 ｜ s3100401@163.com
创作年表： 《花儿哪里去了》 （2010，纪录短片） 评委会特别奖 北京大学生电影节短片大赛 最佳纪录片，最佳短片 上海国际电影节手机电影节 Filmography: Where is the flowers?(2010, Short Documentary) The Special Mention of Jury Prize, Beijing College Student Film Festival. The Best Documentary Award, the Best Short Film Awrd, Mobile Film Festival, Shanghai Int. Film Festival.
纪录长片提案：《花儿哪里去了》 Feature length documentary project: Where is the flowers?
家铭阐述： 近年来，随着中国经济的高速发展，但是高速的经济发展的背后我们也看到了一 些状况，中国经济繁荣背后最见不得阳光的灰暗面。所付出的惨重代价就是恐怖 的环境污染，和人民的身体健康的损坏，子孙家园不可逆转的断送和毁灭。中国 山西每年有无数畸形儿童降生，这些孩子大部分生活不能自理，看病要巨额的医 药费，因此只有一小部分被父母抚养，很多的刚出生就被父母抛弃。抛弃的这部 分有的很快死去，有的被好心人收养，而在山西原平的一对普通夫妇家里，就生 活着一群畸形儿…… Jiaming’s Statement: With the rapid economic development in China over the recent years, we also see the dark sides behind the prosperity of economics, including the horrible environmental pollution which results in damage of human health and destruction of land. In Shan Xi Province in China, there are numerous deformed babies born every year who cannot take care of themselves and whose diseases generate a great amount of medical expenses; therefore, few of them are kept by their parents, while most of them are abandoned by their parents immediately after their birth. Some of the abandoned babies die soon afterwards; others are adopted by nice people. In the home of an ordinary couple in Shan Xi live a group of deformed children…
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青年电影训练营 爱自助游， 爱 自然村 爱图片摄影，爱讲客家话 也爱 《爱唱歌的刘涛》
我不是愤青，也不是小清新 我是修小萍。 和你们一样， 想拍好、选好每一个镜头 Fond of travelling and natural villages Fond of photography and speakinghakka dialect Fond of “LIU Tao, a singer lover”
young cynic nor a fresh pussy I am XIU Xiaoping.
I am neither a
Just want to make each lens perfect,
just as you do
纪录片工作坊 修小萍｜女｜中国｜ Documentary Workshope XIU Xiaoping ｜ Female ｜ China 1989.01 ｜ 358473188@qq.com
纪录长片提案： 《女人与老屋》 Feature length documentary project: Woman and her old house
创作年表： 《爱唱歌的刘涛》 （2010，纪录短片） 第三届台湾华语电影论坛，新竹、 台南、台中展映 Fimography: LIU Tao, a singer lover(2010, Short Documentary) The 3rd Taiwan Chinese Film Forum.
小萍阐述： 阿铮与母亲是地地道道的福州人，母女俩生活在老屋，相濡以沫。本片将主要 叙述阿铮与母亲的日常生活，跟踪她们拆迁前、拆迁时以及拆迁后的生活画 面，通过对比讲述他们动迁的奔波和搬进新家的欢乐生活。老屋的每一寸，里 面的每一个物件都有过往的故事，一旦这个载体毁了，那些似有非有的东西也 就消失了。片中将大量使用空镜头，来刻画这个充满记忆的老屋，以及老屋周 围的其他古老建筑，并且用城市另一边喧闹的现代化建筑和建设高楼大厦的画 面，烘托老屋的适意、安闲、没有紧张感，人们在里面某种恰如其分的享受。 Xiaoping’s statement: The film talks about the daily life of Zheng and her mother, traces the images of their life before, during, and after resettlement by the government, and narrates the changes and their happy life after moving into the new home through contrast. Every inch and every object in the old house has their own stories. Once the carrier is destroyed, intangible things will then disappear. Many scenery shots are used in the film to illustrate the old house that is full of memories as well as other historic building surrounding the old house. Images of noisy modern building and construction of skyscraperscontrast with the leisure, comfort, and people’s joy in the old house.
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青年电影训练营 爱 外公，爱 浸会 爱读 加西亚 . 马尔克斯
爱看阿尔莫多瓦 也爱听哥特金属 我不是大学生，不是香港人
和你们一样， 我是蒋励。
希望结识更多可一起创作的朋友
Love my grandfather, Love my Baptist University Love the works of Gabriel García Márquez Love the masterpieces of Pedro Almodovar I am neither a University student, I am JIANG Li. nor a Hongkonger I wish to meet and work with creative comrades just as you do
剧情片工作坊 蒋励 ｜女 ｜中国 Fiction Workshop JIANG Li ｜ Female ｜ China 1983.06 ｜ lilyincastle@hotmail.com
创作年表： 《信》（2006，剧情短片 , 编剧，导演， 剪辑） 《Money, Lies, Video Tape》（2006，剧 情短片，编剧，导演，剪辑） 《生活 24 小时开放》（2007，剧情短片， 编剧，导演，剪辑） Most recent work: Time Travel in the Refrigerator 《时差反应》（2007，剧情短片，编剧， 21min, 剧情 /Fiction, 2009 导演，剪辑） 《时光电冰箱》 （2009，剧情短片，编剧， 北京电影学院第八届国际学生影视作品展 导演，剪辑） 莫斯科国立电影学院国际学生影视展 The 8th International Student Film &Video Festival of Beijing Film Academy Fimography: International Students Film &Video Festival of National Film Academy in Moscow
最近的短片：《时光电冰箱》
Letter ( 2006, Short Drama, Screen Writer, Director, Film-editor) Money, Lies, Video Tape (2006, Short Drama, Screen Writer, Director, Filmeditor) Life is Available Around the Clock ( 2007, Short Drama, Screen Writer, Director, Film-editor) The Jet Lag ( 2007, Short Drama, Screen Writer, Director, Film-editor) Time Travel in the Refrigerator ( 2009, Short Drama, Screen Writer, Director, Film-editor).
小寒带着是否堕胎的选择，回到久别的外公家，患老年痴呆的外公将 要被送往老人院，却把家里的电冰箱当作时光机器不肯丢弃，令母亲 啼笑皆非。究竟有没有时光机器，可以让人逃脱“现在”，逃避正在 面对的，和将要到来的？本片是作者 MFA 学生毕业作品。 Whether to abort of not? Xiao Han was trapped in the dilemma. When she visited her grandfather, she encountered a mysterious scenario – her grandfather, going to the geracomium, was uneasy to give up his treasured time travel machine (a refrigerator ) . Does time travel machine really exists? Can we really escape the Current, and the possible Future that we may not have the bravery to face? This is the MFA graduation work of the producer. HAFF2011 99
CIFVF-HAFF Campus
青年电影训练营 爱 昆德拉，爱 卡尔维诺 爱 Popping 舞，爱 基亚罗斯塔米 也 爱 一个个活在我们眼前的人 我不是只会录音，也不是只会编剧
我是陆文瀚。和你们一样，
我认为我们从不在电影里学电影
Fond of reading the works of Kundera Fond of reading the masterpieces of Calvino Love Popping, Love Abbas Kiarostami
I also love you guys
Neither sound recording nor Screen Writing is the
main job of mine I am Luk Man Hon. I never study film in films, Just as you do
剧情片工作坊 陆文瀚｜男｜香港 Fiction Workshop Luk Man Hon Male ｜ Hong Kong 1988.07 ｜ joinwoo@gmail.com 香港演艺学院电影电视学院 奖学金资助 Supported by the scholarship from Hong Kong Academy for Performing Arts, School of Film and Televison.
创作年表： 《池边的男孩》（2010，剧情短片， 音响设计及现场录音） Fimography:
最近的短片：《池边的男孩》
Most recent Work: The Boy Beside the Pool 15min, 剧情 /Fiction, 2010 全澳原创录像展香港演艺学院电影电视学院学生精选作品展 MACAU Creative Video Festival, HKAPA Selections
The Boy Beside the Pool (2010, Short 校园泳池救生员马达充满着认识女生的欲望，却总是怯懦，假期来临， Drama, Music Sound Designer, 马达打理着空泳池，却来了一名定期练习的漂亮女生，二人单独相处， Sound Recorder) 马达应如何是好？ Ma da, the lifeguard of swimming pool, has been struggling to strike up a conversation with girls. However, he is too shy to make it. One day before the summer vacation, Ma da encountered a comely girl when he was cleaning the walls of swimming pool. The girl was coming to practice regularly, which means that they would have frequent chance to meet each other. What can be done? HAFF2011 100
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青年电影训练营 爱 街舞，爱闷骚 爱 香港演艺学院，爱 当导演 也爱 反对大孕会
我不是 香港人，不是技术控 我是任侠。 和你们一样，
希望开拓自己的思维，找到自己应该拍什么
Love hip-hop, Fond of man show Love Hong Kong Academy for Performing Arts Fond of being a director I am also likely to say no to the Shenzhen Neither a Hong Konger nor a technology advocates
Universiade
I am
REN Xia. I want to
break free from the convention, and to find the ones I want to record, Just as you do 剧情片工作坊 任侠｜男｜中国 Fiction Workshop REN Xia ｜ Male ｜ China 1982.09 ｜ shrimpyam@hotmail. com 香港演艺学院电影电视学院 奖学金资助 Supported by the scholarship from Hong Kong Academy for Performing Arts, School of Film and Televison.
创作年表：
最近的短片：《池边的男孩》
《Mr YES》 （2008，剧情短片 , 导演） Most recent Work: The Boy Beside the 《侦探》（2009，纪录短片，导演） 15min, 剧情 /Fiction, 2010 《池边的男孩》（2010，剧情短片， 全澳原创录像展香港演艺学院电影电视学院学生精选作品展 导演）
Pool
MACAU Creative Video Festival, HKAPA Selections
Fimography: Mr Yes (2008, Short Fiction, Director) The Detective (2009, Short Documentary, Director) The Boy Beside the Pool (2010, Short Fiction, Director)
校园泳池救生员马达充满着认识女生的欲望，却总是怯懦，假期来临， 马达打理着空泳池，却来了一名定期练习的漂亮女生，二人单独相处， 马达应如何是好？ Ma da, the lifeguard of swimming pool, has been struggling to strike up a conversation with girls. However, he is too shy to make it. One day before the summer vacation, Ma da encountered a comely girl when he was cleaning the walls of swimming pool. The girl was coming to practice regularly, which means that they would have frequent chance to meet each other. What can be done? HAFF2011 101
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青年电影训练营 爱 武术，爱网球 爱做 摄影师，爱住派出所 也爱 三天三夜不睡觉
我不是剧作高手，不是 乐观主义者
我是王光才。 和你们一样，
梦想有一天能真正拍出属于自己的电影
Love martial art, Fond of playing tennis Love being a photographer Fond of living in the police station I also love the feeling of not sleeping for 3 days and nights I am no expert as a playwright I am not an optimist I am WANG Guangcai. I have a dream, to find my own film, just as you do
剧情片工作坊 王光才｜男｜中国 Fiction Workshop WANG Guangcai ｜ Male ｜ China 1988.07 ｜ 394023764@qq.com
创作年表： 《三月》（2011，剧情短片，摄影） 《指间》（2011，剧情短片，导演、 摄影） Fimography: March (2011, Short Fiction, Photographer) Between the Fingers (2011, Short Fiction, Director.
最近的短片：《指间》
Most recent Work: Between the Fingers 13min, 剧情 /Fiction, 2011
讲述一个刚出监狱的青年，虽然想念母亲，但是又没有脸面回家，试图 找过工作，犹豫过后，但是迫于无奈重新走上了原来的扒手生活，意料 之外却把母亲的救命钱偷了，当他带着礼物回家看母亲的时候，终于知 道了真相。最后选择了自首…… This is a story of a youth just freed from the jail: Although he missed his mother, he was too shamed to meet her. Though he had tried to work, he became a finger smith again after a period of hesitation. He had accidentally stolen the money needed to save his mother’s life. And he did not realize it until he bought a gift to visit his mother… Then he surrendered.
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青年电影训练营 爱 街舞，爱 书法 爱 欧洲艺术电影，爱 海子顾城 和舒婷 也爱 周传基 我 不是电视剧导演， 不是电影综合论者
我是王姜永。 和你们一样，喜欢电影 Love hip-hop,Love Calligraphy Fond of European Artistic movies Fond of HaiZi, Gu Cheng and Shu Ting I also love Chou Chuanchee I am neither a TV director, nor a Film Theorist I am WANG Jiangyong. Love movies, just as you do 剧情片工作坊 王姜永 ｜男｜中国 Fiction Workshop WANG Jiangyong ｜ Male ｜ China 1989.10 ｜ jyjy_1989@163.com
创作年表： 《广州天桥》（2009, 纪录短片， 导演，摄影） 《相见》（2010，剧情短片，编剧， 导演，摄影） 《少年与刀》（2011，剧情短片， 导演） Fimography: A Bridge in Guangzhou (2009 , Short Documentary, Director, Photographer) The Encounter (2010, Short Fiction, playwright, Director, Photographer) The Young Man and The Knife (2011, Short Fiction, Director)
最近的短片：《少年与刀》 Most recent Work: The Young Man and the Knife 26min, 剧情 /Fiction, 2011
根据丁小村同名小说改编，王姜永的毕业作品。讲述小城、校园、成人， 以及少年的暴力和怯懦。刀是用来开始和终结的，年少时光是用来追忆 的，施暴者和怯懦者是每一个可能的人。 This is Jiangyong’s graduation work and is adapted from Xiaocun Ding’s novel. It depicts the violence and cowardice of the town, school, adults and the youths. The knife is used to start everything as well as to end everything. The youth time doesn’t last long. Everyone is capable to be a perpetrator and a coward. HAFF2011 103
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青年电影训练营 爱 舞蹈，爱 太极
爱做电影制片 爱 享受电影旅行，
也爱 康巴藏人
不是剧组 我 不是宅女，
Top 控
和你们一样， 我是徐千淳。 我相信“电影发明了以后，我们的生命延长了三倍” Love dancing,Love Tai chi Fond of traveling in the movies Fond of being a film producer
love
I also Kham Tibetans I am neither an Otaku, nor
an activist in the crew
I am XU Qianchun. I believe that our life have been extended 3 times after the invention of films, just as you do
剧情片工作坊 徐千淳｜女｜台湾 Fiction Workshop XU Qianchun ｜ Female ｜ Taiwan 1986.07 ｜ txu727@gmail.com
创作年表： 《狙击手》（2009，剧情短片，助理制 片）《 , 阿踩的明星梦》 （2009，剧情长片， 执行制片）,《再见全垒打》（2009，电 视电影，助理制片）《 , 我的天！》 （2009， 剧情短片，制片，剪辑） 《西塔手》 , （2009， 纪录短片，剪辑）,《纸条》（2010，剧 情短片，制片，灯光） 《与绳共舞》 , （2010， 纪录短片，导演，摄影）
最近的短片：：《纸条》
Fimography:
12min, 剧情 /Fiction, 2010
The Sharpshooter (2009, Short Fiction, Co-film producer). The Star Dream of Ah’ Cai (2009, Feature Length Fiction, Film Producer). Good Bye Home Run (2009, TV Film, Cofilm producer). Oh My God !( 2009, Short Fiction, Film Producer, Film editor). XITASHOU (2009, Short Documentary, Film editor). The Note (2010, Short Fiction, Film Producer, Gaffer). Dance with the Leash (2010, Short Documentary, Director, Gaffer).
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Most recent Work: The Note
老张是一名退休上校。由于他的古怪脾气与乖僻的性格，再也无法忍受 的妻子带着小女儿离开他。经过好些年的独居生活，某日接到久未见面 的女儿来电，邀约老张参加孙女的生日餐会。惊喜交加之余，老张拿起 一张随手可得的纸条记下女儿新家地址。老张兴高采烈地采买礼物欲前 往女儿家，却在途中遗失了写着重要地址的那张纸条。 Lao Zhang is a retired colonel. His wife left him with his little daughter after having enough of his eccentric temper. Lao Zhang’s daughter called him after he had lived alone for many years. It was an invitation for his grand daughter’s birthday party. Overwhelmed by the surprise, Lao Zhang randomly took a note of his daughter’s new home address. Just as he was happily on the way to his daughter’s house, he lost the note that he desperately needed.
CIFVF-HAFF Campus
青年电影训练营 爱 雕塑，爱3
维设计 爱 Second Life，爱多动 综合症 也爱 研究平行宇宙 我不是 搞艺术的，也不是 被艺术搞的 我是爻禹。 和你们一样，热爱电影
Love sculptures, Love three dimension designs
Fond of Second Life Proud of having ADHD I also love to explore the concept of parallel universes I am neither an artist, nor the one being massed up by art I am YAO Yu. Love movies, just as you do
剧情片工作坊 爻禹｜男｜中国 Fiction Workshop YAO Yu ｜ Male ｜ China 1980.05 ｜ 224433859@qq.com
创作年表： 《天使现象》（2010，剧情短片 , 导演，摄影，剪辑） Fimography:
最近的短片：《天使现象》
Most recent Work: The The Angel Phenomenon (2010, Short Fiction, Director, Photographer, 12min, 剧情 /Fiction, 2010 Editor).
Angel Phenomenon
北京独立电影展（BIFF2010） 重庆民间映画交流展（CIFVF2010） Beijing Independent Film & Video Festival, BIFF 2010. Chongqing Independent Film & Video Festival, CIFVF 2010.
咖啡厅一个飘忽的服务生询问了每个客人问题“你相信有天使吗”二网 友沉溺在虚拟世界的天使现象；保险经纪忙碌着天使护航服务；商人相 信风水能助他一臂之力；邵只希望享受当下；詹姆斯相信钱就是他的天 使；天使也许自己也无法面对自己的黑暗！ A server in a Café asked every customer the same question: “ Have you ever believed the existence of angles?” But the game-frenzy customer was obsessed in his virtual world with ‘angels’ everywhere; the insurance manager was busying selling his ‘Angel Services’; the businessman believes that Fengshui can bring him good luck; Shao only wants to enjoy the current he has; James believes the money is his angel; event the angel itself can’t face its own darkness!
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教学简介
[ 表述 ] 艺术行动主义。 [ 概要 ] 尝试协助每位学员对本人的学习和创作现状，有一个更完整而清晰的认 知。并在“行动之能力”的层面上，对纪录和剧情的学生都有所提醒。 [ 教学内容和目标 ] 1. 纪录片工作坊 针对每位同学的创作情况，于“青训营”期间，安排具体到个人的小练习； 并针对他们正在进行的或者将要进行的长片项目，展开集体的、个别的 以及公开的和私下的讨论。 目标：希望帮助纪录片工作坊的同学，对未来的创作，建立更强的信心 和勇气。 2. 剧情片工作坊 针对每位同学过去的短片，展开集体的、个别的以及公开的和私下的讨 论；并于“青训营”期间，以团队工作的方式，完成 1-2 部规模不大、 实现性较强、讲究创意或方法的小短片。 目标：希望帮助剧情片工作坊的同学，对剧作有更多把握，对团体协作 有更多认识，对未来可能的创作有更多的乐观态度。 [ 行政协助 ] 全免费：包括报名费、学费、住宿和餐饮，提供最高额度为 1000 元的 路费补贴。 提供教学空间和前后期设备等，以保证教学的正常进行。 提供作业拍摄经费。 [ 延伸 ] 1. 重庆民间映画交流展（CIFVF）将安排名为“青训营”的特别单元， 专门介绍这次“青训营”，及诸位入选的同学。 2. 纪录片工作坊学生正在或将要拍摄的长片，“青训营”会一直保持关 注，给予力所能及的帮助，未来将为其寻找放映等推广的可能。 3. 剧情片工作坊期间完成的短片，如合适，“青训营”将尝试安排多种 形式的放映。 HAFF2011 106
Syllabus [Expression] Artivism. [Abstract] Try to assist every trainee to have a comprehensive and clear understanding of his or her current state of studying and creating, and to push all of them on the ability of activity. [Contents and objectives] 1. Documentary workshop to arrange individual practices during the camp according to the condition of every trainee; to have discussions, group and individual, public and private, concerning the film projects they are having or are going to have. Objective: to help trainees build stronger confidence and courage for their future work 2. Feature film work shop to have discussions, group and individual, public and private, about the short films completed by the trainees in the past; working as a group, to complete 1 -2 short films that are small in scale and decent in reality and creativity. Objective: to help the trainees master screen writing, develop more understanding of group work, and establish an optimistic attitude towards their possible future work. [Administrative assistance] Free enrollment: including application fee, tuition, accommodation, and catering, and a subsidy for travelling expenses up to 1000 RMB. Space for teaching and equipment offered to maintain the course process Funds for shooting offered [Extension] CIFVF is going to have a unit named “Youth Trainee Camp” specializing on the camp and trainees. “CIFVF-HAFF Campus” will keep an eye on the feature-length films by the trainees both in the present and future, offer assistance, and look for possibilities of presentation and promotion for the films. Short films completed during the camp will be arranged to display through different media. HAFF2011 107
■ 亚洲短片创作讨论会 ∣ Asian Shorts Creation Seminar 10/17（一）Mon. 13:30, 浙江工业大学屏峰校区图书馆 Library of Zhejiang University of Technology.
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■ “亚洲之光”颁奖派对∣ SHINE ASIA Party 10/18 （一）Tue. 19:00 PAL MAX 电影会所，杭州市拱墅区大兜路 112-118 号 PAL MAX Film Bar, 112-118#, Dadou Rd., Gongshu District, Hangzhou
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■ 公共讲座：我怎样学习看电影、拍电影。 讲座人：舒琪（“亚洲之光”短片评审，香港演艺学院电影电视学院院长，影评人） Public lecture: How do I study films? ∣ Speaker: SHU Kei 10/17（一）Mon.18:30 ■ 公共讲座：九十年代后台湾纪录片的类型和表现形式——试以几部代表作品为例。 讲座人：黄玉珊（“亚洲之光”短片竞赛评审，台湾电影新浪潮后期代表女性导演） Public lecture: The style and methodology of Taiwan documentary films after 1990s. ∣ Speaker: HUANG Yushan 10/19（三）Wed.18:30 地点：浙江工业大学屏峰校区理学楼报告厅 / LI Xue HALL, Zhejiang University of Technology.
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八月四日司徒老师来信
编者按：但凡有中国纪录片作者完成了一部作品，都会送到司徒老师那边，请 他看片，与他交流，这是个幸福的过程，我与司徒老师的相识也是因为类似的 经历。司徒老师一直自称自己只是一名教书匠而已，他在北京电影学院坚守着 纪录片的教学， 直到今天。 ２０１１年， 我们几个人在杭州想办一个亚洲青年电影节， 做一个“亚洲之光”青年短片竞赛单元，考虑评委的时候，首先就想到请司徒 老师来做评审团主席，那是最好不过的打算了，于是去信，司徒老师第一次回 信，欣然允诺。数月过去，情况有变，因为身体的原因，司徒老师最终遗憾地 无法来到杭州和我们一起度过七天的影展时间。他再次送来的亲笔信，言辞简 约，但能量巨大，这些简单到不行的文字，却总能让 ＨＡＦＦ 团队坚定着前行的 脚步，令我们不断相信，我们正在做着一件传递幸福感的实在的事情。经得司 徒老师同意，将此信发表在今年的电影节手册中，与更多电影节客人们分享。 （单佐龙） HAFF 2011 组委会， 赵瑜老师、单佐龙、应亮及各位朋友： 佐龙先生寄来了第三届杭州亚洲青年电影节总体介绍，我认真看了，是很有创 意的一份计划。四位短片评审和导师团的各位，又是我所了解、所敬佩的多年 致力于电影创作和电影艺术教育的朋友，他们不把自己当权威，摆出一副很吓 人的面目，而是踏踏实实认真做事的人，在这样的团队引领下，我相信并予祝 电影节一定会成功。 做民间影展困难多多“促成一个有意义的事情，但却在各种环节中做得如此没 有尊严。”（佐龙信摘），其实我想能去做这件事的才是有理想有尊严的人 们，而现在电影圈里某些“大腕”一边点着从善良的百姓那里骗来的票子，一 边为自己制作的垃圾作美丽的宣传。没有了耻感，哪里有尊严。我很清楚，个 人是不能去改变什么的，我们只要不去跟风，不要去追随和吹捧邪恶，做自己 的事就好了。你们希望“促成一条中国电影非传统教育”，我更希望你们如新 浪潮那批热情的电影人那样去用一种新的理念和方法带动出一批有生命活力的 电影。而不是今天哪些技术主义毫无思想的“山寨”作品。不要忘记法国新浪 潮的一些领军人物对希区柯克是很尊重的。 我只是希望你们先从两岸三地的交流到亚洲电影的交流，再扩展到欧洲和世界。 每一次都要加一部分国际的优秀作品，它对我们扩展视野非常重要。 千万不要来看我，更不要带除片子外的礼物来。我用中药调养，效果有，但很 慢。电影学院还要我这老朽去青岛那么一个怪怪的地方去开拓，他们说很重视 纪录片，但有钱的少爷、小姐们怎么会喜欢纪录片呢？苦不堪言！ 特别问候舒琪、黄玉珊、冯艳、大冢龙治各位先生。 我只是个教书匠，我对他们早就知道，认真做事不顾作秀，教好学生，实现我 们的电影理念。 司徒兆敦 2011.8.4 HAFF2011 111
Letter from Mr. Situ on August 4th
Editor’s notes: Whenever a Chinese documentary filmmaker finishes his latest works, the piece will be sent to Mr. Situ as an invitation to communicate. It’s a pleasing process, similar to my acquaintance with Mr. Situ. Though calling himself a pedagogue, he has been absorbed in documentary teaching in Beijing Film Academy so far. In 2011, when we organizers were planning about the Hangzhou Asian Film Festival, we decided to add a new program named “SHINE ASIA”, focused on short films made by young filmmakers. And the best candidate for jury president came out to be Mr. Situ. So, we sent an invitation to him. In the first reply, Mr. Situ agreed without hesitating. But after several months, the situation has changed. Considered his health condition, we regret to tell that Mr. Situ is not able to be here and share his notion with us during the seven days’ span. The last letter from him, terse but powerful, represents his concern about the HAFF team. Those simple but convincing words make us believe in aim we HAFF team are heading; they make us believe that we are doing the exact thing to pass on happiness. As agreed by Mr. Situ, we include the following letter in the CATALOUGE of HAFF 2011 to share with all of you. (Collected by SHAN Zuolong) HAFF 2011 Team, Dear Zhao Yu, Shan Zuolong, Ying Liang and my friends, Zuolong sent me the general introduction of the 3rd Hangzhou Asian Film Festival. I read the plan seriously and found it to be innovative. The four shorts jury members and those in the mentor group of CIFVF-HAFF Campus are friends I know well, as well as filmmakers I respect. They devote themselves to the creation or film education, without flaunting as authority or daunting amateurs away. They are upright people dependably, who handle affairs seriously. With the help of such team, I believe and wish the success of the festival. So many obstacles lie in the path to hold an unofficial festival. “To assist in such a meaningful thing, but with so tiny dignity in various procedures.”(from Zuolong’s letter). In fact, I regard those who contribute to such a meaningful thing as dignified dreamer. However, some “big shots” in industrious film field are counting money duped out of the mass and publicizing fancifully for the rubbish they produced at the same time. Without principle, where can dignity settle? I am clear with the fact that individual effort can not change much. What we can do is to avoid chasing after crowds, to resist following blindly or extoling indiscriminately and to working on one’s own affair. You may dream about “paving an unconventional road for Chinese film education”. But, what I wish to see is a new generation of films brought up by you, just like those produced by filmmakers during the New Wave, full of energy and passion, instead of those technic-oriented and thoughtless copycats prevailing nowadays. Do not forget: the leading figures in the French New Wave show much respect to Hitchcockian. HAFF2011 112
I only wish that you can start with the communication among the Mainland, Taiwan and Hong Kong, then extend to the entire Asia, then to the Europe and the whole world. Every time we extend the coverage, part of the outstanding international works must be added, which are crucial for broadening our horizon. Do not come to visit me. Not to mention about any gift besides the your creative films. I am taking Chinese medicine now. It do help, but in a slow way. The BFA invites an old buffer like me to such a strange place like Qindao, which represents its emphasis for documentary. But how would those wealthy young masters and ladies go to watch a documentary? The bitter is inexpressible. Send my special greet to Shu Kei, Huang Yushan, Feng Yan, Ryuji Otsuka. I am only a teacher, and have known them for long: work seriously without show off, educate earnestly, to realize our idea of the film. Situ Zhaodun 2011.8.4
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“亚洲之光”选片纪 文 / 陆梦婷
干过选片这个“苦活”的人都知道，每一次选片都是对体力、智力和心力的考 验，体力是看上百部片子，智力是要从中选出 15 部优秀的，这心力就是博弈—— 作品质量的博弈，经济的博弈，选片人审美观点的博弈，参展地区的博弈。我 并不能讲今年选出的十五部作品就全都是最优秀的，但是至少这个最后的片单 是最平衡的。或许这些话会给人不敬之感，之后的行文我会唠唠叨叨讲述一些 在选片过程中个人的“牢骚话”，望大家恕罪则个。 一些数据 我想先给大家列一个基本的参展作品数据，这会让大家对这一年我们所收到的 亚洲地区的短片有个大体上的认识。今年共有 243 部作品报名参赛，其中剧情 片 170 部，纪录片 73 部，而入围的纪录片 9 部，占所有投递纪录片的 12.2%， 而入围的剧情片 6 部，占所有剧情片的 0.035% ，从这两个数据可以看出今年 纪录短片的整体制作水平要高于剧情作品。这同时也是最后的入围名单纪录片 占到三分之二比例的原因，虽然我们开始初定是纪录片与剧情片维持在 8：7 这样的比例，但是在最后的选片过程中，纪录短片的优势非常明显，所以我们 最后决定打破平衡，定下了最后倾斜感强烈的片单。另外值得注意的还有今年 共有 5 部台湾作品入围，分别是剧情片《翻个墙》，纪录片《通过我们的身体》 《华新街》《一条流到我家的河》以及《五谷王北街到台北》，占这次入围作 品的三分之一，其中年轻导演的作品如《翻个墙》《穿过我们的身体》优秀而 脱俗。而大陆和香港的入围作品各为两部，今年这个一边倒的现象，引人深思。 另外今年我们收到了来自韩国、日本、新加坡、马来西亚、巴基斯坦、土耳其、 孟加拉国、越南、菲律宾共 19 部，这个数据并不惊人，这显示出了杭州青年 影展的区域覆盖能力还稍显薄弱，想要最终真正做到亚洲之光，还需要扎扎实 实做好工作。 遗珠 好像在我有限的阅历范围内，看到影展手册里选片人的话多是讲今年入围的作 品怎样怎样，但很少讲到那些落选之作，今年我就想聊聊这些遗珠。首先有因 题材原因无法入围的台湾短片《巨兽》，有因时长超过的李栋的《八宝粥》， 有因为台湾作品比例过重而无奈舍弃的实验片《生灵》，这些作品并非不优秀， 只是因为这样或那样的原因最终未能参展，我们也需要向这些作者致以最高的 敬意。 当然除了这些佳作的落选让人惋惜，同样让我们觉得可惜的是部分纪录片呈现 出的不完整性。这些作品或是选材有趣，或是拍摄手法别致，或是一腔热血， 本来这些作品可以更骨血丰满，但最后都因某方面的柔弱而无法立得住，譬如 讲述中国“海上吉普赛人”生活的《上岸》，这部作品开头和结尾老人吟唱的 歌谣创造了非常的意境，部分音画对位很有味道，但是整部片子就像是稀释过 的生活一样，很多内容作者没有更加深入地去拍摄，最后只能流于残缺，这是 非常可惜的。相似的还有拍摄深圳新私塾的《鹿鸣学堂》，这部作品看起来就 像正片的片花一样，有趣，抓人，但不深入，这个题材和人物其实更有挖头的。 有着相似问题的还有《男儿》，《老张的乌托邦》。对这些作品，有惋惜，更 有希望。 HAFF2011 114
实验片之觞 今年的选片时我一个最大感受是害怕看到碟片上写着“实验片”这三个大字， 因为我知道接下来的几十分钟可能会是折磨。拿《4》这部短片作品举个例子， 刚开场作者就非常耐心地对着一只蜘蛛拍摄了近一分钟，之后黑屏十几秒后， 女主角老奶奶登场。接下来的二十多分钟里，就是这位老奶奶抽烟看电视等等 一系列琐事，这部还算好一点的，至少还有人物，有事件镜头还会动，接下来 的《铁球没有同时落地》将镜头固定住，一动不动地对着一个建筑工地的几辆 吊车拍了十几分钟，或许导演会拿出安迪·沃霍尔的《帝国大厦》来跟我争辩， 因为这部作品的极端之处在于导演对着帝国大厦一动不动地拍了 485 分钟。但 是决定一部作品的价值的多寡是非常复杂的。导演沃霍尔最有名的作品除了丝 网印刷的玛丽莲梦露头像之外，还有一系列相差不大的浓汤罐头，这就决定了 安迪艺术的两个关键词，一是波普偶像，一是差别甚微的重复，所以这部《帝 国大厦》，只是他平面作品的一个延伸而已，另外可以给大家参考是同属当年 纽约先锋艺术圈的作曲家约翰·凯奇首演于 1952 年的音乐《4’33》，这部作 品只有一个漫长的休止符，观众在接下来的四分多钟里，只能听到自己的呼吸 声，咳嗽声等一系列环境音，凯奇强调的偶发生活即音乐这一理念影响到了后 面无数艺术家的创作。说了这么多，我无非是想对年轻的作者们说，艺术确实 没有界限，艺术本身就是对界限的突破，但是同样艺术也很可能只是一次性的 突破， 后来者只是一味模仿， 而没有自我完整的哲学观艺术观， 那就只能是山寨。 当然实验短片中也有《房间里的战争》、《日光之下》、《吃了》这样不错的 作品，但最终也因为作品的稍显青涩未能入围。
巨兽｜ Once Upon a Time in Kinmen
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The tour of SHINE ASIA By LU Mengting
The person who has done the job of selecting films would know this kind of job is a test for your physical strength, intelligence and mental forces. Because you have to watch hundreds of films and outstand 15 best ones, it’s very difficult as you need make a balance between works, economy, different aesthetics and even regions. I daren’t say the finalists are the best of year, but they’re the most balanced. Statistics First I want to show some basic data for you audience and make a general understanding of this festival. This year we’ve accepted 243 movies including 170 fiction ones and 73 documentaries. And at last we select 9 documentaries and 6 fictions, from this we can conclude that documentary productions take the lead of fictions among the movies we got and it’s the reason why we determine such an unequal list, though at first we want to keep a proportion of 8 documentaries and 7 fictions. And we notice that Taiwan works are much more than any productions from other areas, totally we have 5 shorts from Taiwan and both 2 shorts from mainland and HK which causes us deep reflection. As we claimed the competition is covered all countries around Asia, we have accepted 19 foreign shorts separately from South Korea, Japan, Malaysia, Vietnam, Philippine and other countries, it’s not a big number revealing the influence of HAFF around Asia needs to be promoted. Pearls Left I’ve rarely read the articles talking about the movies haven’t yet been selected in the competition in the film festival handbooks and this time I want to leave this part to those works which is as excellent as the finalists. There’s Taiwan experimental fiction Once Upon a Time in Kinmen whose sensitive topic stop its paths and another Taiwan experimental documentary Being was terminated by its Taiwanese identity, we have so many Taiwan shorts. Because of the longer length, Chinese documentary Eight-Ingredient Porridge can’t be selected to attend the competition. We have to give us respect to those directors and thanks for their efforts.
And we also feel pity for some incomplete documentaries which has drama topics, interesting structures or sincerity. These works would become more mature if the directors dig into the subjects deeper. For example GO ASHORE which follows the life of Chinese Gypsies on the ocean, some part of this short is moving and moving, but apparently there’s not enough materials for director to use. And the same problem happens to some other documentary shorts such as A Very Chinese School, Man, Zhang’s Wonderland. To these movies we have more hope than pity. HAFF2011 116
The problems of Experimental films This year I’ve got fear to the shorts with the word Experimental on their discs, because most of them are too experimental for me. For example one short uses only one 20 minutes long shot focusing on two cranes steadily which reminds me the Andy Wahorl’s Empire State Building. This movie has only one shot about 485 minutes and watches the Empire State Building still. It’s an extreme example and as a background Andy’s masterpieces like Marilyn Monroe and Soup Cans mainly concentrate on Pop Idol and repeat with little differences, Empire State Building is kind like one of his paintings, just uses another medium---the big screen. Every artwork’s birth has its own specific situation, for another example, John Cage’s 1953 4’33 chance music is another proof has influenced all kinds of art in New York. As a word I want to remind the authors yes there’s no boundary in art field and sometimes art means breach the limitation, but if you just learn the artist’s surface other than its internal philosophy, you’ll always be the counterfeit.
生灵｜ Being
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台湾新电影到后新电影之路 文 / 黄玉珊
一九八二年代台湾新电影在中影公司明骥总经理授权和几位新进的企划编审小 野、吴念真的推动下，结合国内科班背景出身以及海外留学返国的新一代导演， 陆续以《光阴的故事》、《儿子大玩偶》、《小毕的故事》等作品在台湾电影 史立下了一道新里程碑，正式和传统电影的创作划分路线，几位新电影的导演 如侯孝贤、杨德昌、王童、陈坤厚、万仁、张毅、柯一正、李佑宁的电影，结 合了文学界的作家好手，重新塑造了台湾电影的内容和美学形式，并在评论和 观众之间引起了热烈的回响。 影评人黄建业论及台湾新电影，认为新电影的作品以青少年成长和社会变迁为 共通的主题，新电影的代表作品中，有一半的作品是由文学作品改编，也有些 原创剧本是由作家和导演共同编剧而成。这段时期的作品，有从现代角度重新 诠释历史事件的宏大叙事，也有致力于反映台湾社会现代化都会中人际疏离的 状态， 也有透过剧场语言探索内心世界的形式作品，这个阶段的作者型导演， 他们的作品透过评论和影展机制被推向国际，而国际影坛也接受了他们。 一九八六年，台湾新电影在带动重组了台湾观影文化之后，票房出现低迷现象， 评论亦出现两极化争议，一派主张长镜头写实主义美学，另一派则主张类型电 影制作中电影工业制度和元素的重要性。当时有五十位电影工作者发表了《台 湾电影宣言》，宣称电影创作要和商业电影轨道下的电影制作思维有所区隔， 电影宣言发布之后，并无法挽救台湾电影市场于风雨狂澜，反而种下了电影片 商和作者心结，以及双方在日后制作路线的分歧和对立。新电影虽然在台湾的 电影产业方面无法作为解乐振衰起弊，在国际上却持续散发魅力和影响力，如 新导演们所推出的后续作品。 一九八九年《悲情城市》在威尼斯国际影展拿下首座金钟奖，紧接而来，李安 的《喜宴》、蔡明亮的《爱情万岁》相继在柏林影展、威尼斯影展得到最佳影 片，杨德昌的《一一》不久也在戛纳影展扬名，得到最佳导演奖。之后，九十 年代崛起的电影新浪，如张作骥、林正盛导演的作品，延续新电影的精神，也 打入国际舞台，得到同样的关注和肯定，如柏林影展、东京影展，继续其个人 强烈风格的发展和探索。这段期间作为新电影摇篮的公营事业中影公司，在明 骥卸任总经理之后，历经林登飞总经理、徐立功制片时期，在制片部小野、吴 念真企划路线调整之下，也开始了第二波、第三波新导演的培养。这段时间的 导演包括李安、蔡明亮、张艾嘉、王小棣、何平、李道明、黄玉珊、陈国富、 林正盛、易智言等，可以说都是在八十年代台湾新电影之后，继续往多元题材 开发，寻找生存空间的影像创作年代。 而这段期间由于全球化现象、党产法通过、公营制片厂被迫转型，导致原本为 新电影摇篮的中影公司，制片编导技术人员纷纷出走，成立个人工作室或以政 府辅导金的资源继续拍片，也养成了民间影业公司观望和依赖心理，除了转投 资大陆电影及港片之外；一些商业取向的公司走向发行外片避免投资风险，而 以经营个人艺术风格走向影展品味的电影，更成为独立制片在时空变迁下顺势 而为的路线。 在焦雄屏的《台湾电影九 O 新新浪潮》一书，正式用了“新新浪潮”一词， 来概括描述九十年代在台湾电影有创作表现的电影人，对此一时期的电影从业 人员，从核心的制片编导，到演员幕后技术人员，该书作了一个分类总表、包 括评论和人物专访，也可从书中窥见台湾电影在九十年代百家争鸣、创作缤纷 HAFF2011 118
的景况。虽然国内市场有限，但拓荒的精神和意志仍然不减当年前辈的奋勇。 而从民间募集资金，成立个人工作室，以独立制片的姿态，延续之前创作风格 的导演工作室、电影社更蔚成风气，如候孝贤、杨德昌的公司更是引领风骚， 也带出了当时迄今在影坛发热发光的电影人，如张作骥、魏德圣、纽承泽等人 在日后的创作局面，在拍片同时，他们都曾在电视、广告、后台任务打拼，在 民营片场、冲印公司及资深导演的引领下，维持着有形无墙的片厂概念和分工 制度，也催生出后新浪潮一群恢复台湾工业模式的电影人。 这段时间台湾电影在本国的发展市场虽然局限，但以独立制片方式，和转型后 的民间电影公司携手，结合国外资金持续进行拍片计划仍然有不少辉煌成果， 李安的《卧虎藏龙》、侯孝贤的《海上花》、蔡明亮的《天边一朵云》，就是 最明显的例子。2000 年李安的《卧虎藏龙》得到奥斯卡外片最佳剧情片，成功 打入美国院线市场；《海上花》在法国艺术电影院线；《天边一朵云》在台湾 电影市场也都开出亮丽的票房成绩。2001 年千禧年后，侯孝贤、蔡明亮、张作 骥陆续推出新作，也为后来台湾的独立制片吹起另一个航向新时代的号角，延 续了新世纪台湾电影的薪火。 如前所述，面临全球化的冲击，香港回归大陆，台湾进入世贸之后，台湾电影 失去了过去可以倚靠的保护伞和创作基地，导致电影工业急遽的萎缩，专业电 影人纷纷流向其他地方，蛰伏民间各个场域，如学术界、电视台、剧场、广告、 后制公司，等待集结畜势再发的一天，如果说这段时间台湾电影在内销市场上 失去了往日荣景，但另一方面，中小型电影制作在外围的打击进退维谷之下， 独立制片工作者随着天灾人患，如九二一震灾、莫拉克风灾、片厂结束之际， 拍片场景从都市往外延伸，反而开拓了过往的视角和思维，《全球化》另一个 关键诠释是《在地化》的反击和跃起，成为《全球化在地化》的契机。 当时，民间制片公司和独立制片反而如雨后春笋般茁长，而跨国合作和操作也 成为一段时间台湾电影的概念股和试测胶囊。因此衍生了侯孝贤的公司和日本 影业公司合作，拍摄《海上花》和《咖啡时光》；蔡明亮则和法国的制片人， 连手持续推出新片，如《天边一朵云》、《不散》等；其后侯孝贤和法国奥赛 美术馆合作拍摄了《红气球》，蔡明亮接受法国罗浮宫委托拍摄的《脸》，更 是将个人创作所坚持的理念风格发挥到极致，而两部作品成功的结合了电影和 美术，作为视觉和影像跨界合作的艺术案例，两部作品也成为美术馆珍贵的收 藏。 在九十年代继续创作或崛起的导演群中，在剧情片的呈现上正如焦雄屏在《台 湾电影九 O 新新浪潮》一书提到的：虚构与历史轇葛、寂寞疏离和逾越伦理。 一些导演持续以影像话语在作品中寻找历史记忆、身分认同；或是呈现人物内 心视界、书写现代性寓言、挑战身体和道德禁忌，这些特质从侯孝贤、杨德昌、 蔡明亮的作品中可以明显察觉出来。而另一群出身于片厂实务、表演艺术、编 剧写作的新新浪潮导演，也继续在艰难的环境中开发电影创作的空间。随着全 球化后现代后殖民的冲击，大片厂时代的瓦解，数字科技的发展，独立制片自 主意识的抬头，台湾电影渡过了风雨飘摇、微光暗影的时刻，开始有了多重的 面貌展现。与此同时，在剧情片之外的纪录片、动画片，也在悄然无声的空旷 原野中蔓延生根，而在内容呈现部分：女性自觉、性别议题浮出台面，各类影 像在各种由民间、学界和地方发展出来的自主性影展推波助澜之下，呈显出多 元影像文化的发表和论述空间，如女性影展、南方影展、绿色影展、高雄电影 HAFF2011 119
节等。而九十年代的导演表现风格，也从八十年代以写实为基调，加入剧场象 征形式的表现，超现实、潜意识的挖掘；纪录片真实电影的手法深入社会角落， 正视劳工、农民、妇女权益，成为弱势团体发声的管道，影像的话语和讨论成 为有如交响乐和史诗篇章的演出，而不是停留在艺术的呈现或商业的辩论和考 虑而已。 从九十年代到新世纪初，在此之前台湾电影已开始有些波澜倾泻，在与中国大 陆同期进入 WTO 之后的五年，台湾电影开始适应独立制片的环境并和全球经 济文化接轨，在运动和文化的表现逐渐显现为全球政经文化体系的一环。在《海 角七号》尚未出现之前，几部出自新新浪潮导演的影片，如林靖杰的《遥远的 距离》、周美玲的《刺青》、周杰伦的《不能说的秘密》、钮承泽的《情非得 已之生存之道》、陈怀恩的《练习曲》、戴立忍的《不能没有你以》、郑文堂 的《眼泪》，及蔡岳勋执导的电视剧《痞子英雄》转化拍摄的电影版，已带起 台片后新浪潮的面貌和议题，引起学界和大众的注意。 几部在院线放映脍炙人口的纪录片，如《跳舞时代》、《生命》、《无米乐》、 《翻滚吧 ! 男孩》，重新引燃观众对国片的兴趣，也为影像再现历史、集体社 会意识、青春成长的题材撒下了各色种苗，台湾电影继续往下扎根往前挺进， 冀望寻找到另一个出海口。而在此同时几位观众熟悉的华语导演，如李安、吴 宇森，以台湾作为筹拍、创作、选角的基地，和影片发行的重镇，作为华语电 影前进国际影坛的先锋团队也昭然成形，后续发展仍有待观察，届时势必又是 另一个浪头倾泻。 时间来到台湾 2008 年，魏德圣的《海角七号》以庶民文化、在地意识为号召， 将类型电影手法包装后现代元素，以五亿票房创下台湾电影史上本地电影第一 高票房纪录，掀起了前所未有的《新台片》风潮，是奇迹，但或许也不是那么 意外。这是一部纯台湾资金，并且不以大卡斯阵容为号召的正宗台湾影片，内 容是关于一群小市民的梦想和实践，故事中有回忆中的历史情境、有南台湾的 浓厚民风，也有跨国的音乐演唱会，这部结合了流行音乐、历史记忆、后工业 时代的全球化现象，所串起来的片段点滴，让观众从中看到小人物的身影，奋 力成功的过程，深切的引起社会不同阶层的认同和共鸣。这部电影的回响也带 动了同期上映的影片，如《冏男孩》、《一八九五年》的观影风潮，电影的口 碑和票房，造成了社会集体意识下的全民运动和情绪宣泄的出口。而这一年台 湾电影也从初进 WTO 时，本地自制电影市场占有率不到百分之二的比例提升 到百分之十五的市占率。 《海角七号》的成功效应鼓舞了更多独立制片工作者，也使得政府在鼓励影视 生产上释放出更多资源，企业界也愿意投资和发行本土电影，另一方面本土电 影也吸引了国际资金，让国内外知名导演有兴趣申请来台湾拍摄新片，以高山 河海都市作为主场景，可预期的是朝向展开台湾电影的产业复苏之路迈进。 这段期间不同主题的研讨会、回顾展，也重启了探讨台湾新电影的本质，现象 与影响的风气；从新新浪潮到后新电影的定义和演变，重新为新电影在历史上 找出定位和意义。2010 年中央研究院所举办的《后新电影现象》研讨会可以说 是其中的一部份。该研讨会以几部台湾后新电影为例，提出庶民观点、新台片 风的论述角数，相关的研究仍在持续发酵中。这种现象反映了整个社会对本土 电影，不论是从娱乐角度、文化工业、意识型态、学术研究，都在原有的论述 主张中，从另个角度去回顾台湾新电影及其代表的精神，激发新的思维和想象， 更重要的是透过电影工作者在致力于追求艺术的完整性之外，是否也要回到大 HAFF2011 120
众文化关心的议题：重视观影大众共同关心的普遍性问题，在揭露真实重写史 观之外，如何融入反省思辨，达到愿望的实践，或许是值得再思索的问题。在 此蜕变的过程中，以往隐身于深山的灯火近了，天边露出的曙光指向，编导在 重新找到一种说故事的方法，不论是取材真实的社会事件、或是根据文学改编、 或是亲身经历的自传性书写、或是带有地方庶民色彩的内容、或是具有都会特 色青少年的题材，以及励志重建民众信心的影片，几乎都可以博得观众青睐。 这些影片包括：张作骥《当爱来的时候》、王育麟、刘梓洁的《父后七日》、 叶天伦的《鸡排英雄》、钟孟宏的《第四张画》。 而在纪录片的制作上，同 样的表现出自由和活力，举凡民众化社会性的题材，从个人身边的家族轶事， 到自然和环境变迁、核灾和公安的影片，社会边缘者的处境，包括劳工、移工、 医疗，和老人赡养的作品，也逐渐成为拍摄的主题，并引起广泛的关注和讨论。 在题材的多元化角度之外，地方公部门的参与或相关基金会的赞助拍摄和奖励， 当然也直接回馈到创作者和观众身上。在现阶段，除了原有具深厚文学性特质， 个人艺术风格的电影外，在影评媒介观众的认同和共鸣下，《海角七号》、《艋 舺》《鸡排英雄》这类融合作者和类型的影片，应该会持续推出。这类电影 或许不是以参加国际影展为要求指标，但观众反应和文化效益值得观察，产业 结构也会因此再作调整。另外直接上院线放映的影片，新人导演的表现，在票 房与资深导演比较毫不逊色，此现象也反应在去年到今年的台湾电影广告牌上， 今年夏天的电影，如林育贤的《翻滚吧！阿信》、九把刀《那些年，我们一起 追过的女孩》，和即将上片的魏德圣新作《赛德克巴莱》，后者已经进入威尼 斯影展竞赛片，已经在网络媒体和票房上掀起一阵旋风，未来如何进一步将影 片制作和发行模式成为常态，如何让多元题材和类型可以发声并存，更是要努 力去发展的目标。导演不是明星，而是愿意倾听不同阶层声音的劳动者，两者 之间或有落差，但在多元题材并行发展，才可能冀望影像作者和观众可以持续 创造、表达心声、参与耕耘、传播分享更多令人感动的优秀作品！
沈没之岛｜ TAIVALU
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The Way from Taiwan Earlier “New Films” to Post “New Films” By Huang Yushan
In 1982, approved by Mr. Ming Ji, the manager of the China Film Group Corporation, led by Xiaoye, Wu Nian and a number of new editors, and combined with the new generation of directors who studied aboard but had native academic backgrounds, the “new films” including In Our Time, The Sandwich Man, Growing Up marked the history of Taiwan films. These landmarks separated “new films” from the old-fashioned creations. Some directors, like Hou Hsiao-hsien, Yang Dechang, Wang Tong, Chen Kunhou, Wan Ren, Zhang Yi, Ke Yizheng, Li Youning, redefined the theme and the aesthetic means of TaiWan films by cooperating with the master writers in literature field, and received a strong reaction from both the critics and the audience. Touched upon Taiwan “new films”, Mr. Huang Jianye, a critic, said that new creations generally focus on the growth of teenagers and the change of society. Among those representative works, half of them are adapted from literature, while some are original script composed by both writers and directors. Some works of that period reinterpret history events from a modern viewpoint; some works emphasis on the inter-personal alienation in present Taiwan society. There are also some formal works explore the inner world through theater words. At that time, the works made by creator-type director were brought to international stage through critics and film festivals, and they were accepted by the international movie circle. In 1986, after Taiwan “new films” fueled and rebuilt the film culture in Taiwan, the box office went through a recession. The critic world polarized into two groups, one advocated for realism aesthetics that espoused long shot, and another stood for the importance of the system and elements in film industry when making type films. Fifty film-works published the “Taiwan Films Announcement”, claiming that creation should get rid of typical film-industry thought. The announcement didn’t bring a change. The Taiwan film market still remained swaying in raging storm. Far from salvaging the market, it on the contrary planted a conflict between movie studios and producers, which leads to the divergence and opposition later. Although “new films” could not cure the debilitating film industry, they still remain fascinating and influencing around the world, like their sequels. In 1989, A City of Sadness won the first Golden Bell Award in the Venice Film Festival. In the following years, The Wedding Banquet by Ang Lee and Love Is Elsewhere by Tsai Ming-liang won the Best Film Award either in Berlin or in Venice. Yi Yi, A One and a Two by Yang Dechang got the Best Director Award and became famous soon after Cannes Film Festival. Then, the new wave rising in movie circle during 1990’s, like the works by Zhang Zuoji and Lin Zhengsheng, passed on the spirit of “new films” and also came on international scene, receiving broad attention and appreciation in Berlin and Tokyo Film Festival. They continued the development and exploration towards unique aggressive style. During this period, as the cradle of “new films”, a public sector company, China Film Group Corporation, started to foster the second wave and the third wave of new directors when manager Lin Dengfei took position after Ming Ji, and Xu ligong as the producer. During that time, the directors, including Ang Lee, Tsai Ming-liang, Zhang Aijia, Wang Xiaoli, He Ping, Li Daoming, Huang Yushan, Chen Guofu, LinHAFF2011 122
Zhengsheng, Yi Zhiyan, were said to have kept exploiting multi-element theme and seeking for living space following the 80’s Taiwan new films, and therefore this period is named “video creation era”. Because of globalization and policy, the public sector company had to reform. This change caused producers, editors and other employee to leave the company, which used to be the cradle of new films, to set up individual studio or continued shooting with government support. The reform attributed to the reliance of film-makers and the caution of unofficial film companies. Besides investing the Mainland and the Hong Kong films, some industry-oriented companies resorted to foreign films as a way to avoid risk. And those films that created film-festival style by expressing individual art view became the thoroughfare during the transition period. In Jiao Xiongping’s book, Taiwan New New Wave Cinema, the phrase “ealier New Wave” appeared for the first time as to summarize and depict those creative Taiwan film-workers during 1990s. The categorized form that is attached with the book gives comments and personal interview to film-workers at that time, from the core produce directors to actors and off-scene technicists. We can image partly a hundred schools of thought that strived in 1990s Taiwan film circle. Though the market was limited, the “new New Wave” film-workers were as strong in mind as their predecessors. From raising fund to setting up individual studios, they passed on the previous art style with an independent position. Like the companies of Hou Hsiao-hsien and Yang Dechang, those studios or movie club represented the fad of that era, which brought up with some film-makers who are important until now. The situation of those film makers, like Zhang Zuoyi, Wei Desheng, Niu Chengze who worked on TV, advertisements and off-scene while keeping shooting films and was led by unofficial develop company and private film studio following a concrete but unstrained concept towards studio and division of labor, produced the film-makers, who returned to Taiwan industry mode in the “latest New Wave”. During that time, despite the fact that Taiwan films were facing a limited native market, they enjoyed the fruit of independent moviemaking mode and the corporation with unofficial movie companies, combining foreign funding to continue shooting plan. Crouching Tiger, Hidden Dragon by Ang Lee, Sea Top Flower by Hou Hsiao-hsien, The Wayward Cloud by Tsai Ming-liang are the three most significant instances. In 2000, Ang Lee’s works, Crouching Tiger, Hidden Dragon, held the distinguished title of Best Foreign Picture, as named by the Academy of Motion Picture, accessing American cinema line. Sea Top Flower and The Wayward Cloud showed noticeable mark either in art movie cinemas in France or in Taiwan market. After the Millennium 2001, Hou Hsiao-hsien, Tsai Ming-liang, Zhang Zuoji successively came up with new picture, blowing the horn for later Taiwan independent moviemaking, signing the new sailing era as well as passing on the porch of new century Taiwan films. HAFF2011 123
As stated before, facing the shock of globalization after Hong Kong returned to China and Taiwan entered the WTO, Taiwan films lost their protect umbrella and creation base that they used to rely on. Such sudden change caused a rapid shrink in movie industry. Professional movie-makers flowed to other fields, like academic circle, TV station, theaters, advertisements and off-scene moviemaking companies, waiting for the day to take-off again. If Taiwan films were said to have lost their former prosperity during this period, but on the other hand, middlesize and small-size moviemaking broadened its horizon and thought after experiencing catastrophes including 921 earthquake, Morak typhoon. By the end of the shooting, the scene had stretched from urban to suburban. Another crucial interpretation of globalization is the counterattack and leap of “localization”, triggering “globalized localization”. At that time, however, unofficial moviemaking companies and independent studios sprung up like mushrooms, and transnational corporation and operation became concept stock and testing pill of Taiwan films. Thus deriving the collaboration of Hou Hsiao-hsien and Japan picture companies to make Sea Top Flower and Coffee jikou. Tsai Ming-liang, instead, worked together with French producers and came up with new works continuously, including The Wayward Cloud, Goodbye Dragon Inn and etc. Then, Hou Hsiao-hsien and French Orsay Gallery cooperated on Flight of the Red Balloon. And Tsai Ming-liang accepted commission Face given by French Louvre Museum, a picture that brings the ideal style of individual creation into full play. The great success of both works that combine movie with art, as examples of crossover between visual and video art, proved their value to be precious collections in the gallery. The traits of those feature films produced by the directors, who stood up or continued creating in 1990s, are just like what Jiao Xiongping mentioned in Taiwan New New Wave Cinema: Imagination twists with history, loneliness leans against ethics. Some directors kept seeking for historical memory, self-identification or showing inward world, creating modern fable, challenging physical and moral taboos through visional expression. These traits are conspicuous in works by Hou Hsiao-hsien, Yang Dechang, Tsai Ming-liang. As for the other group of the “latest new wave” directors, who arose from studio practice, performing art, playwright, they went on exploring space for creation in such hard environment. Endured the shock of post – modern colony after globalization, the disassemble of big location, the development of digital technology, the raise of independent moviemaking conscious, Taiwan films survived tumbling times, and began to show various faces. At the same time, besides feature films, documentaries and animations were quietly spreading their roots on the open country. As for the content expressed, modem transformation and gender issue were on the horizon. Various videos showed multi-elements visional culture with all kinds of unofficial, academic and local help fueled by independent film festivals, including Female Film Festival, Southern Film Festival, Green Film Festival, Gaoxiong Film Festival and etc. And the artistic style in 1990s also took the realism as basis, HAFF2011 124
adding new elements such as theater symbolism, transcend reality, subconscious exploration. The compelling verite-style narrative touched the very corner of the society, facing laborer, farmer and women rights, and became the channel for disadvantaged groups to air their opinions. The words and speaks of video were more like symphony or epic performance, but not simply staying on presenting art or on debating and assessing as industry. From 1990s to the new century, Taiwan film circle had endured turbulent times. In the five years after Taiwan entered WTO as well as Mainland, Taiwan films began to integrate with independent moviemaking environment and globalizedeconomy culture. Their function in sports and culture field connected themselves to the global politics, economy and culture system. Like The Most Distant Course by Lin Jingjie, Spider Lilies by Zhou Meiling, Secret by Jay Chou, What on Earth Have I Done Wrong?! by Niu Chengze, Island Etude by Chen Huaien, No Puedo Vivir Sin Ti by Dai Liren, Tears by Zheng Wentang and the film scripted from TV series Riffraff Heroes directed by Cai Yuexun have brought the “latest new wave” to the stage, drawing the attention of academy and the public as well. Those documentaries shown in cinema line enjoy great popularity, including Viva Tonal, Life, The Last Rice Farmer, Tumbling! boy, which kindled the interest towards native films and sowed for the various themes later thrive. Taiwan films continued taking root downward and stretching forward with the hope to find an exit. While, at the same time, some Chinese directors, well known among audience, including Ang Lee, Wu Yusen, made Taiwan their base for preparation, creation and role selection and their important seat for film distribution. The leading groups, which head towards worldwide film circles as represents of Chinese films, have also been formed, and their following development is sure to be another wave. Time goes on to 2008, Cape No. 7 by Wei Desheng redefine post-modern element with genre film technics, and won public with “common people culture” and “bottom conscious”. It created the highest native film box office in Taiwan film history, together with a “new Tai-film” wave. A miracle, but maybe not so surprising. Cape No. 7is a very true Taiwan film, totally funded in Taiwan, and not emphasized on big stars. The story is about a few common people’s dream and their practices. The story contains history scene in memory, traditional northern Taiwan culture and also transnational music show. The movie combines pop music, historical memory and globalization phenomenon in post-industry era together, to show the audience how small figure reach out for success, and strike a chord among different social classes. The huge influence of this movie also drove the other film shown at that time, such as Orz Boyz, 1895. The movie’s popularity and box office caused a wide campaign under social group conscious and gave a vent to dissatisfy. Correspondingly, the market portion of native self-produced films grew from less than 2% when Taiwan first entered WTO to 15% this year. The success of Cape No. 7 encouraged more independent moviemakers, also made government to give more support as to encourage video production. Business field was also willing to investigate and release native movies. On the other hand, native movies were attracting international fund, since they inspired HAFF2011 125
world-famous directors to shoot new works in Taiwan with its natural landscape. The future of the revival of Taiwan movie field is promising. In this period, various seminar and exhibitions attributed to the popular discussion about the essence, phenomenon and influence of Taiwan new films. From “earlier new wave” to “latest new wave”, the succession redefined Taiwan films’ historical position and meaning. The seminar, “About Latest New Film Phenomenon”, held by Central Academe in 2010, is one of them. It took a number of Taiwan “latest new films” as examples, presenting viewpoint of “ordinary people”, “new Tai-film wave” and molding following studies. This phenomenon represents the widespread conscious that local films and the spirits they contained should be review from new point of views within extant propositions, no matter in entertainment, cultural industry, ideology, academic study, as to inspire new thoughts and imagination. More important, the agenda focused on whether moviemakers should return to topics prevailed in popular culture, besides pursuing the art integrity. While paying attention to wide-spread problems of audience, disclosing reality and rewriting historical opinions, how to dissolve retrospection and profundity, to reach the intended experiment, is a question that worth thinking. Through the transformation, the previous recluse came closer to sight, and the dawn showed the direction with first light. The producers were trying to find another narration for the story, no matter based on real social event, or adapted from literature, or firsthand experience, or content featured local people, or materials about metropolitan teenagers, and films that bring courage to the public, almost all of them could win popularity. These films include: When Love Comes by Zhang Zuoji, Wang Yulin, Seven Days in Heaven by Liu Xinjie, Night Market Hero by Ye Tianlun, The Fourth Portrait by Zhong Menghong. As for documentaries, the works showed free and lively traits too. Themes about public social affairs, from personal anecdote to environment change, nuclear disaster and police, evoked attention and discussion towards socially marginalized groups, including laborer, immigrants, medical and pension for retirement. Besides multiplied angles for themes, movies supported by government or relative foundations’ donation and rewards, without any doubt, also feedback to creators and audience directly. In present stage, besides the movies with profound literature characters and those with individual art style, movies that integrate creator and genre, such as Cape No. 7, Monga, Night Market Hero, will continue to be created, to meet critics, media and audience’s approval and concordance. Perhaps, this type of movies do not aim at entering international film festival, but the audience’s responses together with the culture influence they brought are worth attention, and thus industrial structure is going to be adjusted again. Moreover, new directors’ performance in movies that go directly into cinema line is not a halfpenny the worse when box offices are compared with those of experienced directors. Such phenomenon could also been seen on this year’s Taiwan film billboard. In this summer, Jump! Ashin by Lin Yuxian, You Are The Apple Of My Eye by Jiu Badao, and the coming works by Wei Desheng Warriors of the Rainbow: Seediq Bale -the latter has entered Venice Film Festival to compete-have already started a wave on Internet media and box office. In the future, how to further set norm for moviemaking and publishing, how to consist works with multiple elements and genres, are targets that need more effort to realize. Directors are not stars, but instead laborers who are willing to listen to the voice from different social classes. The two definitions may have fall in between, but only by developing multielement themes can moviemakers and audience continue creating, expressing their thought, cultivating, spreading and sharing more and more excellent works! HAFF2011 126
局促的看与被看 ——与《通过我们的身体》作者辛佩宜的邮件对谈 采访 / 单佐龙 文 / 辛佩宜
佩宜，你好。很高兴能通过邮件来对你和你的纪录片进行一个简短的采访。 1. 首先，我很惊讶台湾社会还有这样一个职业存在，至少这在大陆，我们没有 听闻过，你可以先简单介绍下“酒促”这个行业吗？紧接着一个很俗的问题， 你是为什么会关注到他们的？ 酒促，在本片里的全名是啤酒促销小姐，她们在一些吃饭场合进行酒类促销工 作，例如小型餐厅、小吃店、钓虾场、卡拉 OK、酒吧、酒店等等，工作时间 多是晚上，穿着年轻亮眼的服装，在现场进行与客人聊天交谈，帮忙倒酒等服 务达到促销目的。同个行业里促销的还有洋酒香烟，依照促销商品等级不同， 酒促小姐所需的身材外型条件也不同，薪资也不同。整个行业是由酒商、公关 营销公司和店家三者组成；酒商将某支酒类的营销工作交付公关营销公司，公 关公司再进行酒促小姐的面试和训练，分派至店家工作；酒促小姐工作性质介 于服务生和业务之间，既要服务客人又要进行促销。 初识酒促小姐来自于我的同学，她从大学阶段就开始兼职酒促工作，后来进而 成为公关营销公司里管理酒促小姐的督导，某个夜晚我跟着她来到各个店家， 巡视旗下小姐们的工作状况，我看着这些女性，身着这样服装，穿梭在一桌又 一桌客人之间；繁华喧闹，灯光缤纷，一个女性的身体在此流转，被多少眼光 注视着，与多少话语交应着，我开始好奇这个片刻她在想些什么，她的身体在 此空间又是如何对应，于是产生拍片念头。 2. 很有意思的一点，我察觉到，你在影片中一直在反诘自己究竟想要什么，你 又是否真的得到了你要拍的东西等等。而事实上，我从你写的影片简介中分明 可以看到，你其实很清楚自己要什么，应该说你是一个，至少在这部影片的创 作上，非常聪明地看到自己所要表达和言说的作者。那么我很想知道，你在影 片中表达出来的这种怀疑或者说诘问，也可以说是不安，是出于你所讲的“持 摄影机的人本质上的权力焦虑”还是你同样作为一个女性对这个职业处境的焦 虑呢？ 拍摄过程里不安一直是直觉又隐形地存在，而酒促这个题材恰巧又结合了这两 种不安；纪录片这个媒材的天性让摄者与被摄者的权力关系总被时时意识着， 或者我该说应该被时时意识着，从开始拍片以来，关于诠释与剥削、主体与回 馈等等总不断穿过摄影镜头时时质问按下 record 的我；另一种不安来自于一个 女性拍女性，我如何看待她们，是否复制了男性眼光，其实我与酒客并无不同。 所以整个过程里我拼了命试图穿越我的摄影机，想要理解她们，她们在现场的 感受与情绪，想要拍出真实的身体的对应，于是我试图穿越摄影机试图成为她 们，适着让自己真正置身于现场的冒险与不安，用身体感知达到真正理解与诠 释，响应自身的焦虑，拍出真实。 3. 我注意到，其实你影片中存在着两对“看”与“被看”的关系，一对是客人 与酒促小姐之间的看与被看，另一对则是躲在摄影机背后的你与摄影机前的他 们之间的看与被看。我想听听你自己对于这两对关系的读解是怎样的？ 酒促小姐象是一个界点，她贯穿了两种看与被看的关系，在客人与她，她与摄 影机，并连接起两者成为一个共通的命题，看与被看，主动与被动，关于权力 HAFF2011 127
的掌控。直觉来说，酒促是被客人观看着的，另一方面她与酒客也被摄影机观 看着，她处在一个被动角色，被观看被操控被诠释，这是其一面向，也是一般 而言这个题材容易想象的面向。但在本片中，主动与被动却是流动的，酒促小 姐并不认为自己只是被看被客人操控情绪的角色，在与客人对应同时她可以翻 转权力关系，用工作经验丢出适合话题进而成为整个场面的控制者，掌握进退 之道，达到促酒目的。而摄影机作为一个主动的观看，究竟是压抑了客人对于 观看酒促小姐的真实欲望抑或放大进而成为一种表演，真实在此反而诡谲难以 言明了。最后一段，持摄影机的作者被酒客要求放下摄影机进场成为被摄者， 成为接近酒促的角色，而拿起摄影机拍摄的是一直以来被拍摄的酒促小姐，主 动与被动在此再次翻转，但这段看来象是巧合的片段却是作者有意识地安排， 回应到贯穿本片的不安，试图穿越摄影机成为她们达到理解，试图解决拍摄主 自身的不安，却也成为一个刺点，翻搅主动被动，映照出更真实的面貌。 4. 你认为你的这部纪录片是给女人看的，还是给男人看的？ 我想两者皆是，很有趣的现象是不管男人或女人，看了这部片都讨厌里面的男 人，男人看了不好意思，直说下次去吃饭一定会爽快地跟酒促小姐买酒，女人 则大声挞伐里头男性自以为是的沙文主义。通过这场拍摄，我的位置比较接近 酒促小姐对男性酒客的理解，话语调侃欲望注视都应该被直视，生活的烦闷空 虚在声色喧嚣中无限放大，我喝酒我看你，另一方面，我卖酒其实我也看你， 你们以为她们 / 我们只是被看被操控，真实状况却是相互对看相互交手，交织 成充满矛盾多重复杂对立难以解析的观点与位置。 5. 片中有一个小细节，大约有两个镜头吧，拍的是你和某位酒促小姐朋友的腿， 那是在表明你的某种立场吗？ 对我而言，脚是一种流动象征，酒促是必须一直走动的工作，嘴巴说话手倒酒， 而脚一直穿梭在每场促销每桌客人之中，脚就是劳动与身体流动的象征；第一 次拍摄我与她们的脚试图传达我与她们一起在此空间，一起工作相互陪伴，我 们是一起的感觉。第二次拍摄脚在被客人要求喝酒之后，希望更强烈地传达经 由被要求喝酒这个动作的身体感知，达到理解，进而成为她们，因此拍摄两个 人的脚一起走路。 6. 最后，你能给我们的观众大致描述下，当下台湾年轻纪录片作者的创作情况 吗？以及你所在的台南艺术大学音像纪录所的创作状况？ 这几年因为数位媒材普遍化，纪录片院线放映，题材故事平易近人等等因素， 台湾有一股纪录片风潮，一般大众更容易接受纪录片，或许也因为纪录片拍摄 的是真实人事物，在题材操作得宜的情况下，相较于剧情片反而更能够打进大 众的心，因此拍摄纪录片的人越来越多，加上台湾社区大学推广纪录片平民化 教学，让很多人都可以拿起摄影机拍自己的故事，因此拍摄纪录片的人越来越 多。 在大量拍摄的良好风气后头，其实还有一个值得观察的面向，题材相似度越来 越高，因此观众以为的能够接受的纪录片样子也越来越狭隘，纷纷走向一个说 出感动人好故事的创作风潮。 HAFF2011 128
台南艺术大学纪录所作为台湾目前唯一体制里的纪录片教学系所，一直以来有 着打破传统主流价值观，招收不同科系不同领域的学生，希望丰富纪录片多元 化面向的理念，早期也因此带领台湾纪录片繁花盛开的风气。近年来因为招收 学生年龄普遍下降，年轻学子的生命经验有限，对于题材的选择也有所限，加 上对于技术的要求本就希望打破传统印象，希望解构业界专业精致化影像的拍 摄方式，但也因此让年轻学子无论在个人创作或投入业界工作，其实都有了瓶 颈。工作方式多选择以自组工作室接案的打游击方式。 以上是个人观察，提供参考。
通过我们的身体｜ Thro’ your body, I reach
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Cramped Watcher and Watched A short interview with the director of Thro’ your body, I reach By Pei-Yi HSIN and SHAN Zuolong
Hello, Peiyi, I am glad to arrange a short interview with you via email: 1. First of all, I am surprised to see such a job in Taiwan. At least, we haven’t heard of it in the Mainland. Can you briefly introduce the job “wine-promoter”? And the next question would be a worldly one. How you came to notice them? Wine-promoter, full name as wine sale promotion waitress, who works in dinner places to promote wine brands, such as small restaurant, snack shop, shrimping restaurant, karaoke, bar, hotel and etc. They usually work at night, wearing bright young clothes. And they chat with customers, help pouring wines and some other services as to promote. In the same field, there are other types of promoters, such as those for imported wines and cigarette. According to the commodity’s class, the promoters’ figure, appearance requisites are not the same, and so do salary. The entire industry consists of three elements: wine dealers, PR marketing company and restaurant owner. The wine dealers give the marketing work of certain alcohols to PR company, which then give interview and training to promoters, assign them to each restaurant. The nature of what promoter do is between waiter and salesman. They do services and at the same time promote things. The time that I first knew about wine-promoter is when my college classmate took a part-time job as a promoter. Later, she got into the PR marketing company as a supervisor who manage the promoters. On one night, I came after her to a restaurant to see the working condition. I watched those women, in that kind of clothes, gliding to and fro. Flourishing and noisy. Glimmering and colorful. A woman figure roamed here, stared by so many eyes, filled with so many conversations. I began to feel curious about what she was thinking at that moment, and how was her body coping with such condition. And so I got the idea to take this film. 2. A very interesting thing, I detected, that you keep asking yourself what do you really want in the movie, whether you really find the thing you want that sort of thing. But in fact, I can clearly see that your awareness of what you want from the brief summary you wrote. We should say that you are, at least for this movie, a very smart author who is clear about what he want to express. So I really want to know, the suspension, or to say questions or maybe worry, you expressed in the movie, is it came from what you called “the anxiety due to camera man’s natural power”, or from the sense of this job situation as also a woman? During shooting, the anxiety was always intuitive yet insidious. But theme about wine-promoter happened to combine these two sorts of anxiety. Medium as documentary, in its nature, put the power relation between interviewer and interviewee to constant attention. Or say that it should be constantly attended. Since the beginning of shooting, thoughts about explaining and depriving, theme and recall and so on have constantly looked through camera and questioned me, who pressed record button. Another type of anxiety came from the position of HAFF2011 130
a woman depicting other women through camera. How I looked at them. Did I just copy men’s viewpoint? Actually, there is no difference between me and the customers. So throughout the process, I struggled to understand them, their feeling and emotion on the spot with my camera, and I struggled to depict their body’s real correspondence. So I tried to be them through my camera, to put really myself in the adventure and anxiety on the spot, to sense with my body for the true understanding and explanation, and then respond to my own anxiety, as to show reality. 3. I noticed that, in fact, the movie reckons about the relation between “The watcher and the watched”. The “watcher and watched” relation between customers and promoter, and another pair between you, who hided behind the camera, and them who stood in the scene. I want to hear about your understanding towards these two pairs of relationships. The wine-promoter is like a boundary point that runs through these two pairs of “watcher and watched” relationships-both the one between customers and her, and the one between her and camera-and she fuses the two into an interconnected proposition: the watcher and the watched, active and passive, about the control of power. Intuitively, wine-promoter is being watched by the customers, but on the other hand she and the customers are being watched by the camera. She stands in a passive position, being watched, being controlled and being interpreted. This is just one aspect, and generally speaking, an aspect that is easy to imagine when given this subject matter. But in this movie, the concept concerned active and passive is itinerant. The wine-promoter does not regard herself as someone who is only watched or controlled by the customers’ temper. While dealing with the customers, she can turn over power relation, throwing out proper topics based on her work experience to be the controller of the scene, mastering the art of advance and retreat in order to promote wines. As for the camera, as an active observer, whether it suppressed the customers’ real desire of watching or magnified it into performing can not be clarified in a sentence. In the last part, the camera man is asked by the customers to put down the machine and entered the scene as the watched, to be a role close to wine-promoter. And the one who shot with the camera was the previous-watched promoter. Here, active and passive is again turned over. This episode seems more like a coincidence but is actually arranged consciously by the producer, as to reply to the anxiety runs throughout movie, try to penetrate through the camera and reach their understanding, attempt to solve photographer’s own anxiety, but also became a spur which stir the active and positive to show their true meanings. 4. Who do you think this documentary is for, women or men? I think both. An interesting phenomenon is that no matter men or women, audience who watched this movie all hate the men in it. And the male audience was embarrassed, saying that they were going to buy wine readily from the HAFF2011 131
promoter next time. But women were reproaching men’s presumptuous chauvinism. Through this shooting experience, my position is closer to the winepromoter’s understanding towards male customers-verbal jest and impulse stare should be looked in face. Life’s boringness and hollowness are amplified in the noisy hustle: I drink and I watch you. On the other hand, I sale wine but actually watch you too. You two regard them/us only as be watched or be controlled, but the fact is looking at each other, mixing into opinions and positions into full-ofparadox and complicated mess. 5. There is a detail in the movie, about two scenes, that shoots your and one winepromoter’s feet. Does that make any of your stands? For me, foot is an emblem for itinerant. Wine promoter is a job that requires ceaseless moving. Mouth talking and hands pouring, but feet are always shuttling through tables of customers and the feet are the symbol for laboring with flow. The first time when I shot my and their feet, I tried to convey the feeling that we were together here at that moment, working and companying, staying together. As for the second time, the scene was shot after being asked by customers to drink wine, hoping more intensively to convey the physical perception with the action of being asked to drink, to reach understanding, and further, to become part of them and so I took the scene of our feet walking together. 6. At last, can you describe to us about the creating situation of nowadays young documentary filmmakers based in Taiwan? And what about the case of the Tainan National University of the Arts? Because digital medium were popularized, documentaries were shown on big screen at cinemas, the themes of story were close to daily life and many other factors, Taiwan has seen a documentary wave in these years. Normal people accept documentary more easily than before. Maybe it’s also because documentary depicts true subjects and true things that it can, with proper operation, impress the mass more when compared with feature films. Therefore, more and more people came into this field, and as Taiwan Community College were advocating popular education, more people were enabled to pick up cameras and to record their own stories, and so more and more people began shooting documentaries. After the booming years, actually there was still an aspect worth observing, the themes and subject matters were getting more and more similar, so the types of documentaries accepted by audience were getting narrower. Documentaries walked away from the original thought-to create impressive good story-one after another. Tainan National University of the Arts, as the only Taiwan documentary school within system, always carries the ideas to break up traditional main-stream value, to accept students in different discipline or fields, hoping to achieve multi element HAFF2011 132
documentary creation, and so it led the flourishing atmosphere in early period. But in recent years, because the accepted students tended to be younger as a whole, their life experience is limited and their choices for subject matters are also constraint, and consider the typical require for technology to break traditional impression, hoping to deconstruct industrial subtilized video shooting method, all of the previous factors added up to obstruct those young students, no matter in individual creating or entering industry, plateau occurred. The working method tended to be “guerrilla warfare� type, in which self-organizing studio accept proposals. The above article is based on personal observation, and only serves as reference.
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越南的新生代作者 文 / 崔丁黎明（越南）
译者按：这是我向一位年轻的越南纪录片作者约稿的文章。文章很简单，但 是看完后，我几乎吃惊地发现，他所描述的越南年轻作者（尤其是纪录片作者） 的创作现状，像极了中国 ８０ 年代末那场延续至今，被人暧昧地形容为新纪录 运动的运动。黎明所阐述的现状正是中国已经（也可能正在）经历的。但是 至少有一点可能不是，在中国，奉“直接电影”为万能方法的时代快要过去了， 而按照黎明的说法，在越南才刚刚开始。（单佐龙） 越南的电影工业真的很小，每年大约只能制作 15 部剧情长片，而他们中大部 分也都是国有制片厂里出来的，剩下的就是私有的电影工作室制作完成的。 很少能有独立的剧情长片，可以通过国际性的电影基金或本国的独立电影工 作室来融资。这将是一个为青年导演准备的有潜力的市场，当然这也是一个 风险很大的市场，因为私有的电影工作室都不太敢在一个刚出炉的年轻导演 身上投资。而那些富有经验的导演和国有制片厂同样存在着桎梏，他们不敢 去触碰那些当下比较敏感的社会问题。国有电影大多是为了政治的目的而制 作，或者是和战争或历史有关。 然而，那些年轻的作者，越来越多地制作出一些短片和纪录片。地下制片的 模式似乎是一种更为方便的制片模式。首先，它不需要得到许可便可以拍摄 任何题材；其次，它极度的廉价，只需要几个人就可以组成一个剧组。对纪 录片而言，很多时候，只需要一个导演一个录音室便可以完成一部很不错的 纪录片！第三，这是电影创作最快速的办法，创作者也不必依赖于某家制片 公司，他们可以在任意的时间段完成创作。制片计划也相当宽松，以至于剧 组成员可以在正式工作之余热情地参与创作。他们用他们自己的家作为据点， 工作人员自己制作道具，他们拍摄迅速，因为没有钱租赁任何片场，也无法 取得拍摄许可。电影学校毕业的专业导演也可以与只有一腔热情的业余导演 们很好地匹配合作。他们甚至可以互换地担任剧组不同的角色。最重要的是， 他们在完成一个项目后使自己变得更棒。这种自发的电影创作的形式，产生 了越南新生代的作者们。 不太好的一面是，当下的越南年轻作者们仍然面临着如何变得更专业的困惑。 虽然有一些比较优秀的才华导演或是摄影师，但是真正优秀的剪辑师或录音 师却非常缺乏。因而，很多年轻作者不得不让自己变得可以担当各种工作。 对纪录片而言，从独立的作品中我们看到了一丝曙光。越南以前没有纪录片 的市场，即便是国有制片厂制作的主流纪录片在影迷中也不受待见。最近一 些独立纪录片却出现了一些新的气象。这些影片尝试从社会只直接汲取信息， 并用最直接的方式去切近拍摄者或事件。它用没有歪曲，放大或操控的方式 表达着真实。这让观众更好地去理解自身和所处的事件。这也让观众们真正 有机会与其他观众分享自己的故事和观点。尽管这里也有着一些障碍，因为 对越南来说，直接电影真的仍然是一种新生的形式，因而并没有被完全地接受。 一步步来吧，直接电影将改变越南人制作和观看纪录片的观念。
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Young generation of filmmaker in Vietnam By Minh Trinh
This is an article come from one of my friends, Minh Trinh, who is a young documentary filmmaker in Vietnam. His words are very simple, but I am really shocked after reading it. What Trinh has described especially the documentary situation of his country in the article was almost the same route as the Chinese New Documentary Movement occurred at the end of 1980s. The only difference is that the age of Direct Cinema in China is about to over, but it was just began in Vietnam. (Noted by SHAN Zuolong) The film industry in Vietnam is rather small. There is about 15 feature films are produced every year in Vietnam. About half of these films are produced by state-owned studios. The remaining is made by private film studios. Just a few independent feature films are made by raising funds through international cinema funds and domestic independent studios. It is a growing market with much potential for young filmmakers. However, it is a hard market to enter for the reason that the private studios never risk their money on new young filmmakers’ works. There is also a barrier between innovative filmmakers and the state studios because they are not open-minded enough to produce films relating to sensitive or current pressing topics. State films are mainly for political purposes or topics relating to war and history. However, more and more short films and documentaries are produced every year by young filmmakers. Underground production is a convenient way to make film. First, it doesn’t require permission to film anything. Second, it is extremely economic. Just a few people can make up a film crew. For documentary, sometimes just only one director and one soundman can make a good film! Third, it is the shortest way to make a film! Filmmakers don’t have to rely on a production company. They can make a film whenever they want. The entire production schedule is flexible so that film crews can work on their passionate projects when having a permanent job. They use their houses as sets. They bring their stuffs to make them props. They shoot very quickly on location that they cannot rent nor have permission. They ask every friend they know for financially supporting, locations or technical assistance. Filmmakers from film school can match well with amateur ones who just have passion and voluntary spirit. They can work flexibly on every function of the film crew. And most important thing is they train themselves to be better after each project. This spontaneous way of making film leads to a new generation of filmmakers in Vietnam. On the not-so-good side, Vietnamese young filmmakers still struggle to be professional. There are some talented young directors or D.P. But a really good editor or sound designer is rare. Thus, many filmmakers have to train themselves to be well rounded to do everything themselves. For documentary, there is a bright sign from independent works. Vietnam has not had a market for documentary before. Even mainstream documentaries produced by state studio are never so popular among film fans. Recently some independent films have done things that never happened before. These films get noticed from the community and are highly regarded for their direct way of approaching characters and events. It shows the truth as it is without embroidering, manipulating or magnifying it. It makes the audience feeling better about themselves as the judge of events. It is also let the audience have a chance to truly share their stories and thoughts to the audience. Although there are some obstacles as direct cinema is rather new and not totally accepted in Vietnam, step by step, direct cinema followers are changing the conception of making and watching documentary. HAFF2011 135
2011 杭州亚洲青年电影节工作人员 ∣ HAFF Team & Volunteers
电影节工作团队 赵瑜 ZHAO Yu 单佐龙 SHAN Zuolong 闻光凯 WEN Guangkai 严丹丹 YAN Dandan 吴雅琼 WU Yaqiong 郑一丁 ZHENG Yiding 项冰冰 XIANG Bingbing 叶江垚 YE Jiangyao 张晓 ZHANG Xiao 沈翌 SHEN Yi 兰琦 LAN Qi 杨柳叶青 YANGLIU Yeqing 姚晨曦 YAO Chenxi 王羽欣 WANG Yuxin 袁俏仪 YUAN Qiaoyi
志愿者 丁晓燕 DING Xiaoyan 郑忱 ZHENG Chen 胡靓 HU Liang
王稷 WANG Ji 陈灿 CHEN Can 黄凌琪 HUANG Lingqi 宋粲 SONG Can 王宸阳 WANG Chenyang 黄振 HUANG Zhen 吕旭 LV Xu 翁海亮 WENG Hailiang 耿晓辉 GENG Xiaohui 赵祎祎 ZHAO Yiyi 杨何康 YANG Hekang 石婷婷 SHI Tingting 王汉江 WANG Hanjiang 周洪宁 ZHOU Hongning 申屠瑜嘉 SHENTU Yujia 叶青 YE Qing 徐文亚 XU Wenya 俞杭婷 YU Hangting 陆云娇 LU Yunjiao 马波 MA Bo 梁培钰 LIANG Peiyu 孔沁 SUN Qin 张可立 ZHANG Keli 杨雪洲 YANG Xuezhou
感谢这些朋友为手册翻 译做出的贡献 戈苑 GE Yuan 席宁忆 XI Ningyi 翁海量 WENG Hailiang 王易凡 WANG Yifan 许建军 XU Jianjun 申屠瑜嘉 SHENTU Yujia 胡优娜 HU Youna 张盼 ZHANG Pan 林青霞 LIN Qingxia
手册排版 项冰冰 XIANG Bingbing
手册编辑与校对 单佐龙 SHAN Zuolong
To be a REAL film festival for the young generation.
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