快訊 no 01 1

頭條 HEADLINE

WWW.TIDF.ORG.TW

TIDF EXPRESS

發行

財團法人國家電影中心

主編

洪健倫

特約撰述

王冠人、曾芷荺

特約翻譯

謝璇、萬修安、楊皓鈞

01

OCT. 10 . 2014

影展快訊

Vol .

《活在三里塚》揭開 2014 TIDF 序幕 2014 TIDF unveiled with The Wages of Resistance 第九屆「TIDF 台灣國際紀錄片影展」於 10 月 9 日晚間，在華山電影館

The 9th Taiwan International Documentary Festival (TIDF) was opened

正式登場，日本獨立紀錄片要角大津幸四郎新作《活在三里塚》，當晚

on October 9th at Spot-Huashan. This event was unveiled by the world

於華山舉行世界首映，為影展揭開序幕。大津幸四郎擔任小川紳介攝影

premiere of Japanese representative director OTSU Koshiro's latest

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師多年，其所參與的「三里塚系列」與「古屋敷村系列」也將於影展推

film, The Wages of Resistance. Otsu has been as OGAWA Shinsuke's

Publication TAIWAN FILM INSTITUTE

出的小川紳介回顧單元中播出。這也是小川作品於九〇年代在國家電影

cameraman for years. The documentaries which he has cooperated

Editor

Allen HONG

資料館放映後，時隔二十餘年再度和台灣觀眾見面。大津也將與另一位

with Ogawa, such as the "Sanrizuka" or "Narita" series, are included in

Kuan-Jen WANG, Vera TSENG

小川攝製組成員飯塚廣子一同出席座談，與小川專家馬克 ． 諾恩思進

this year's retrospective program. This is also the second time to see

Translator

Xuan XIE, Hsiu-An WAN, Howard Yang

行對談，帶觀眾更深入了解這位日本紀錄片大師。

Ogawa's films on screen in Taiwan in the past two decades after his

Design

Melody CHEN

美術設計

陳瑋華

印刷

威創彩藝印製有限公司

Feature

指導單位

文化部

主辦單位

文化部影視及流行音樂產業局

承辦單位

國家電影中心

films were firstly screen at National Film Archive in the 1990s. Otsu TIDF 從今年起自雙年展改為每年舉辦，並且，為了拓展其於亞洲區域與

will attend the forum with Hatanaka Hiroko, a member of the Ogawa

華人世界的影響力，特將以往的「亞洲視野獎」、「台灣獎」改設為正

Production. With Markus NORNES, they will introduce the Japanese

式競賽單元，並增設特別獎「華人紀錄片獎」。

filmmaker to Taiwanese audience more deeply.

鑑於近年中國大陸政府大力打壓各地獨立影像展，本屆影展也推出「敬！

Since 2014, TIDF will be an annual film festival. Also, in order to expand

CHINA 獨立紀錄片焦點」，邀請北京、南京、重慶、雲南四地策展人，

the festival's influence in Asia and in all Chinese community,"Asian

一同精選 20 部 21 世紀以降的重要影像作品，向中國獨立紀錄片工作者

Vision Awards" and "Taiwanese Awards"are now official competition

致上最高的敬意。四位策展人也將受邀出席影展，並將於 10 月 13 日的

program. Meantime, special award "Chinese Documentary Award" is

論壇中回顧與前瞻中國獨立影像之路。

established as well.

本屆影展不但探索了亞洲、中國的創作視野，同時也將挑戰觀眾對於紀

In reaction to that the PRC government has been banding local

錄片定義的界限，焦點導演鎖定美國實驗紀錄片大師艾倫 ． 柏林納，

independent film festival these years, 2014 TIDF combed the program

導演將帶著其利用蒐集而來的影像與聲音素材拼貼製作的紀錄片造訪台

"Salut! Independent Documentaries in China." In order to show

灣，拓展觀眾對於「真實」的想像。柏林納不但將出席大師講堂和觀眾

the greatest admiration to Chinese independent filmmakers, TIDF

分享其在「剪輯」上的獨到見解，從 10 月 13 號起，導演也將出席所有

collaborated with festival curators from Bejing, Nanjing, Chongqing and

放映場次的映後座談。

Yunnan to select 20 important contemporary documentaries. Four of these curators will also be invited to attend the festival and the forum on

除此之外，本屆影展也將放映被西方世界譽為「史上最重要的紀錄片」 -

粹集中營度過的黑暗歷史，本片透過一段又一段倖存者與加害者的訪

2014 TIDF not only explores the films of Asian and China, but also

談，不但重塑了歷史，更顛覆觀眾對於集中營歷史的刻板印象。高齡 89

challenges the definition of documentary. American filmmaker Alan

Industry Development, MOC

歲的本片導演克勞德 ． 朗茲曼更不遠千里造訪台灣，並將帶來本片的

Berliner is the director in focus this year. In order to expand audience's

Taiwan Film Institute

延伸作品《浩劫：未竟審判》；同時，朗茲曼也將擔任本屆競賽單元「國

imagination of "reality", he will present the documentaries which were

際競賽」的評審，與其他評審團成員一同選出大獎得主。

constituted with collected footages and sounds. Berliner will share his

Advisor

Ministry of Culture

Sponsor

Bureau of Audiovisual and Music

Organizer

October 13th.

的紀錄史詩《浩劫》，全片長達 9.5 小時，回溯猶太族裔於二戰時期納

unique opinion of editing on Master Classes. From October 13th, he will show up at every talk after film screening.

-

Moreover, the film festival will present the epic documentary Shoah,

本屆影展將於華山光點電影院、新光影城、新北市府中 15、

which was honored as the most important documentary in the history.

國家電影中心等四個場地同時進行，影展詳細資訊可上官網

This 9.5-hour-long epic reviews the history of Nazi concentration camps.

http://www.tidf.org.tw 查詢，或搜尋 Facebook 粉絲頁「台

With the interviews with the survivors as well as the persecutor, the film

灣國際紀錄片影展 TIDF」。

not only reconstructs the history but also topples the stereotype of the concentration camps. Director Claude Lanzmann is visiting Taiwan with

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his latest and relevant work, The Last of the Unjust. Lanzmann is the

2014 TIDF will be held at Spot-Huashan, Shin Kong Cinema,

jury of the International Competition as well

Fuzhong 15, Taiwan Film Institute. For more information, By 洪健倫 Allen HONG Translated by 謝璇 Xuen XIE

please visit http://www.tidf.org.tw, or search "TIDF" for our Facebook fan page.

曾文珍 TSENG Wen-Chen 導演、台灣競賽初選評審 Director, shortlist decision maker in Taiwanese Competition

TIDF 視野 VISION

近幾年來，台灣的紀錄片能在商業戲院上映，並獲得不錯的票房成績，無疑給了紀錄片工作者莫大的鼓舞。這種獨樹一格的發展樣貌，是世界電影環境中少有的現象。此次角逐台灣獎競賽的作品約有兩 百部，數量上看似豐收，卻有多數作品來自電視台體制內、或受機構委託所拍攝的紀錄片，在內容上呈現出「勵志」、「溫情」的主旋律，缺乏美學形式上的思考與觀點論述上的辨證，形成了一種「氣 虛」的狀態。參展作品的數量雖多，卻無法看到台灣紀錄片多元發展的一道光譜。最後入選的作品，除了考量作品的完整性、內容深度、觀點陳述、美學表現外，更取決於作品是否反映台灣環境現況， 與當代社會產生對話。在這急遽變動的時代中，期待更多紀錄片工作者「莫忘初衷」，能繼續前進拍出好的作品，用紀錄片書寫歷史、溫慰人心。 In recent years filmmakers in Taiwan were heartened by the fact that Taiwanese documentaries can not only be screened in commercial theater, but also prove themselves as blockbusters. It was a unique phenomenon in the industry even to the whole world. In Taiwanese Competition this year, we received over 200 submissions. Although it looks good on the record, many of them were commissioned projects, or works coming from TV network. Their contents follow the popular theme of Taiwanese docs—stories inspiring and heartwarming, yet most of them lack profound insight in aesthetics and dialectics in their point of views. Therefore the submissions in all cannot exhibit the variety within the evolution of Taiwanese documentary. Yet, I hope filmmakers shall always keep their initial passion in mind. Keep moving on and make really good films. Keep using documentary to portray history as well as to warm our heart.

TIDF 2014 9th TAIWAN INTERNATIONAL DOCUMENTARY FESTIVAL 第九屆台灣國際紀錄片影展

焦點 FEATURE

絕對不能遺漏！ 9 個關鍵字 深入小川紳介的豐富世界 -Nine Keywords Keywords to to the the Nine Cinematic Cinematic World World of of Ogawa Ogawa Shinsuke Shinsuke By 王冠人 Kuan-Jen WANG、曾芷筠 Chihyun TSENG Translated by 萬修安 Hsiu-An WAN

1 共同體 Community

4 Sericulture 養蠶Sericulture

7 童年 Childhood

三里塚系列中，沒有賣土地離去的農民（條件贊成派）的畫面。小川認

山形地區近百年歷史的重要事業。原本仰賴燒炭、打獵和種植的零星勞

小川出生於岐阜農村，流著農民的血液。小時候村裡偶有電影放映會，

為，正因明白這些人心情其實和留下鬥爭的人相同，都用自己的方式抵

作，無法供應古屋敷村民的生活。起初為了學習搭建蠶舍，村民甚至組

為了看電影，他從兩週前就開始裝乖幫忙家務，好拿到一點錢買票，還

抗；為了不讓兩方人真正的姿態被「便宜的價值觀」所衡量，而選擇

團遠赴福島。回來後，為了打造足夠的養蠶規模與土地，故陸續砍伐杉

要偷偷把電影海報撕掉以免被發現意圖。所以他說過，電影是從想看電

刪去他們的畫面。並非留下的人就是美好、正確的，而離開的就是「叛

樹賣錢。製絲可外銷，價格一度可比黃金。小川攝製組定居牧野村時，

影的那一刻就開始了，包含付出的努力、辛勤的勞動都包含在裡面。雖

徒」、「罪人」。無論是《邊田部落》的聚會內心話、《第二堡壘》裡

也詳細記錄了農家從種植桑葉到製絲的各項細節，以及「抱蠶」、「放

然對農村不以為然，卻在長大後拍攝三里塚的時候，才重新回視了農的

彼此相鏈於樹的母子，都狠狠捕捉了那種互相支持、想在一起，共同努

蠶」等形象鮮明又生活化的語言。

意義。

力直至最後一刻的心情。

It has been an essential industry in Yamagat. The villagers in Furuyashiki

Ogawa was born in a famers family in rural Gifu. As he recalled, he first

In the sequences of the Sanrizuka series, there is no clip of the peasants

learned to build silkworm houses in order to support their livings in

encountered film when attending occasional screenings in the village.

who chose to sell their lands and left. In Ogawa's perspective, there

addition to making charcoal, hunting and farming. As expanding the

He would help out with the chores in order to earn enough allowance

was a shared bond between those who stayed and those who left—they

plantation, they felled the pine forest to raise funds. Sericulture was

for the tickets. Therefore he once said that a film does not start from

just chose to fight in different ways. To restrain from generalization, he

once the most profitable trade for export. The price was as high as gold.

its opening credit, but from the very moment of one's desire of watching

decided to delete the sequences. The fact is far more complicated than

When filming at Magino, the crew had documented the complete course

it. He was born and raised in the countryside. However, it was until he

a binary of the loyalist and traitor. The conversation in the gathering

of production, from planting the mulberry trees to manufacturing silk.

returned to the village for shooting the Sanrizuka series that he began to

scene in Heta Village and the mother and son chained to the tree in

The film shows how sericulture shaped the local's lifestyle and diction.

contemplate over the meaning of agriculture in relation to his childhood

Peasants of the Second Fortress both evoke that strong sense of

memory.

togetherness within the community.

2 五巴起義 Itsutsudomoe Uprising

5 燒炭 Making Charcoal

8 Crew 小川攝製組 小川攝製組Ogawa'S

由牧野村村民集體演出 250 年前發生的農民抗暴事件，曾被外國觀眾譽

明治時代後，古屋敷村的主要維生事業之一。尤其是冬季，村民常要往

攝製組的成員全都是自由職業者。為了聚在一起幹些喜歡的事，因此共

為真正的希臘悲劇。小川眼裡，鏡頭記錄的時空是村民心中「內在的時

山上跑。對婦女來說，背木柴和背桑葉（可重達 40 公斤）在山路上步行，

同生活、吃飯、拍電影。小川對自由的定義是「內心燃燒的火焰」，能

間」。村民一方面身為後代而自豪，卻也存有祖先「沒能和太郎左衛門

堪稱生命中最辛勞的兩件事。從小川攝製組如何拍攝男人在雪地伐木的

夠熱愛他人，為了共同的目標相聚，甚至固執地拋棄一切跑到村裡種田，

堅持戰鬥到最後」，才得以倖存的羞愧。這種被矛盾情結糾纏不安的深

段落，可以看出其與村民甚密的默契：站在一個看似險象環生的下坡位

吃的自己動手做，十幾個人分別睡在三間房子裡。有時候為了收入，還

層心情，以及活生生的神的存在，充滿吸引力。

置取景，卻其實安全無虞。而燒炭人身上的「閃光點」，不單只是生活

會幫牧野村撿垃圾呢。

The reenactment of the agriculture movement featured with the

手段，更是生存的方式，彰顯了事物行將滅亡時，才看得見的「文化的

All the crew members working on Ogawa's films were freelancers.

villagers in Magino was referred as a "true Greek tragedy" by the

真髓」（小川語）。

They came on broad for the one thing they love: making film. Ogawa

foreign audience. Ogawa's camera focused on the "internal time"

Since the Meiji era, making charcoal had been the main industry in

defined freedom as "the internal bonfire" which enables one to love the

within the memory of the local. As decedents of the revolutionary hero,

Furuyashiki. Winter was usually the busiest time of the year. The

others. They were willing to strive for their common goal, to make their

the villagers took pride in their ancestor and also felt obliged to carry

working environment was harsh. Women carried sticks and mulberry

own films. They'd even volunteered to pick up garbage for the village to

on the legacy. Ogawa was able to portray the complex and anxiety of his

leaves, traveled through mountain area to deliver supplies. The

make their ends meet.

subject in distinct perspective.

profession demands a high quality of team work as it shows in the logging scene in the snow. The sparkles glittering as the charcoal maker performing the craft shows the essence of a culture that was once prominent and yet perishable.

3 戰爭 War

6 身體感Physical Senses

9 女性 Female

《日本國古屋敷村》中，三位參與對外作戰的倖存者（ 旗手、喇叭手、

《古屋敷村》中，有不少自行模擬的天氣實驗，包括當年來襲的冷鋒「白

看完小川作品，一定對片中充滿力量的農村婦女、老婆婆印象深刻吧？

年長的基層士兵）受訪，有人憶往感懷、有人省思批判，細細演示亂世

南」。然而，小川並不認為單從物理角度拍的冷氣，就算是冷鋒的記錄。

小川認為女人之間的談話非常有意思，不僅可以講上很久，而且令人覺

中生命路徑的差異。另外，在戰爭中喪失了孩子的母親，拿出國債券、

他堅持日日到田中觀察記錄，為的是過程中的「感性」（譬如用手真實

得即使一百年前她們還是這樣說話吧？他拍老婆婆說的故事，往往是在

死亡通知書等物件，話語已然平靜，卻極其震撼且具體地辯證了「戰

感受土的黏性），以及想拍出與「自己有關的」的那部分冷氣，充滿了

聽得滾瓜爛熟之後，才要求對方再說一次，好用攝影機記錄下來。對方

爭」、「國家」與人的關係，道出歷史的多層面貌。

「誤解與偏見」的寒風。

也因而開始擔心要穿什麼衣服、該擺什麼姿勢，小川的電影，是從這一

In Nippon: Furuyashiki Village, the survivors (a standard-bearer, a

In Nippon: Furuyashiki Village, Ogawa and his team conducted many

刻就開始了。

bugler, and an old soldier) expressed different opinions toward the war.

experiments of weather simulations by themselves, including that of the

Ogawa's camera often centered on female subject characters. He

With sentiments and critical contemplation, the interviews unveil the

simulation of the cold front "White South." In addition to filming and

was fascinated by chitchats among countrywomen and grannies. The

discrepancy of different life trajectories during the era. Juxtaposition of

representing the climate in a mere observing way, Ogawa insisted on

conversation often lasted endlessly and contained intriguing details.

the mother who lost her child in the war recalling the memory and the

filming each footage on location by himself. He wanted to emphasize

When filming the grannies retelling their stories, he would start

death notice she received reveal the dialectical relationship among the

sensitivity of the process he involved, and to capture "the wind of

shooting after he heard them first. The subject characters might began

war, the nation and the people, and also the complexity of unspeakable

misunderstanding and bias" as he remarked.

to worry what to wear or how to pose for the camera. And that's when

history.

the story began in Ogawa's films.

相關活動 EVENTS

日日談 論壇 2 _ DAILY TALK Forum 2

你所不知道的小川紳介 Retrospective of OGAWA Shinsuke

日期 | OCT. 12 (SUN)

時間 | 14 : 00-17 : 00

地點 | 文化部華山小客廳 @ The Foyer

與談人 | 馬克．諾恩斯「再見小川紳介」單元策劃人、大津幸四郎《活在三里塚》導演、畑中廣子小川攝製組成員 Markus NORNES Co-curator of the OGAWA Programme, OTSU Koshiro Director of The Wages of Resistance, HATANAKA HirokoMember of Ogawa Produciton

TIDF 2014 9th TAIWAN INTERNATIONAL DOCUMENTARY FESTIVAL 第九屆台灣國際紀錄片影展

焦點 FEATURE

中國獨立影像創作空間的未來？ The Future of the Platform of Chinese Independent Docs

By 曾芷筠 Chihyun TSENG Translated by 楊皓鈞 Howard YANG

今夏北京宋庄的中國獨立影像展甫開幕就被拉閘，辦公室被查抄、電腦影像檔案全部沒

This summer, China's Independent Film Festival in Songzhuang village, Beijing, was forcibly shut down by Chinese authorities soon

收，一時之間震驚了中外媒體，最終以「閉目」為閉幕。

after its opening. The festival's office was raided, searched, and all the films and documents stored on hard drives were confiscated, causing a stir among local as well as international press. A campaign where people post selfies of their closed-eyes face on social

從去年在栗憲庭電影基金作為學校學員，與獨立導演和許多想拍片的年輕人交流開始，到

media was launched as a form of protest to symbolize the closing ceremony of the festival.

這兩年看見許多在中國被查禁的影像在台展演，例如牯嶺街小劇場播放的「EX!T 台灣國 際實驗媒體藝術展」與「在左邊的亞洲」，內容實為整個遭到閹割的南京中國獨立影像

Last year, my trip to Beijing as a visiting student in a program supported by Li Xianting Film Fund allowed me the chance to interact

展的十組實驗電影專題（CIFF 的策展人曹愷稱之為「寄生」或「附體」）；今年「敬！

with many young and aspiring filmmakers in the China's independent film community. Also, I started to see more visual artworks

CHINA 獨立紀錄片焦點」單元打造中港台紀錄片放映交流平台，常常感慨，中國有那麼

banned in China being introduced to Taiwan through various platforms, including the program "Salute! Independent Documentaries

豐厚的題材與人事、靈活且執行力強的導演、各地有學校基金組織展覽研討社群交流與出

in China" in 2014 TIDF. With its diverse story subjects and characters, its agile directors with strong execution capabilities, and

版，這樣的組織性與集體經驗是台灣所沒有的條件。

the local schools and funds harboring many research, exhibition, and publishing communities, the lavish landscape of Chinese independent cinema demonstrates a sense of community and collective experience which is rarely seen in Taiwan.

從 2001 年「實踐社」、「南方週末」主辦獨立影像節，根據資料，從各地收來的片子在 北京電影學院禮堂放了幾天幾夜，觀眾就是評審，好片一起欣賞，爛片一起喝倒彩。烏托

In 2001, film club "Shi Jian Society" and the Chinese newspaper Southern Weekend sponsored the Independent Cinema Festival,

邦式的迸發湧動後續分流為酷兒影展、雲之南、重慶、北京、南京、杭州等不同主題與社

which ran for days at the auditorium of Beijing Film Academy. The audience was the jury. Together they cheered for the good films

群組織方法，是把 1980 年代末期以來的地下電影發展積累做各種概念區分、脈絡歷史梳

and booed the bad ones. This utopian atmosphere set the tone for the way independent film exhibitions were to be held in China. Its

理。

momentum was later passed on to festivals of various themes and localities, such as the Queer festival, the Yunnan Multiculture Visual Festival (Yunfest) and other indie fests held in major cities like Beijing, Chongqing, Nanjing, and Hangzhou. By doing so, they

到了 2011 年，一方面因為茉莉花革命、佔領華爾街等國際情勢、一方面中國內部領導人

combed through and classified the history of Chinese underground cinema which started flourishing in the late 1980s.

正值輪替，加上其他資本開發的力量，許多已經有規模或採取不公開時間地點的游擊放映 遭到更高壓管制，這年，中國紀錄片週被迫停辦、獨立電影展被迫遷出宋庄；除了放映端

From 2011, many established festivals or smaller events which had adopted the unpublicized form of "guerrilla screenings"

的查禁，拍攝期間就被控管的個案據悉也有增加。

underwent tighter control from the authorities. It was partly due to the government's concern about the trend of civil unrest across the world, and partly because of the transition of power inside the CPC. Besides, the expanding leverage of the capitalist also

可以說，目前各種獨立放映活動更加進入低潮的潛伏狀態，也更加確立過去就有的日常生

helped undermine the independent festivals. In that year, DOChina was shut down, and CIFF was driven out of Songzhuang. Not only

活中不公開的點狀放映、歐美港台影展等境外放映的路子。近年也嘗試發展網路電視頻道

there was a ban on screening activities, but it was believed that the films being produced at that time were increasingly monitored

作為流通管道（如陽光衛視），或者埋首加速檔案文獻的研究整理出版。未來或許期待年

as well.

輕一代的策展人、創作者有更新的科技技術或組織方法來突圍。這幾點可以是因應方法， 也可以是台灣紀錄片影展作為一個自由開放的交流空間所能著力的點，更重要的或許是讓

In the future, the screenings of independent films in China will have to go further underground. A mode of spot-to-spot, private

我們看到紀錄片創作者在複雜政治脈絡中的主體性、藝術形式與行動方法，形成不同參照

screenings, or distribution through overseas venues may be viable alternatives. New technologies such as new media, or other

系，並且在明日實踐。

innovative organizational approaches brought by the next generation of curators and filmmakers could also be the means to combat state policing and censorship. These are not only the practical counteracting strategies, but future directions for platforms such

在香港佔領中環前夕、學生罷課期間，電話採訪了重慶民間映畫交流展策展人應亮（民間

as TIDF to work on in the hope of fostering a free and open space for all filmmakers. What's more important, these efforts should

相對於獨立、映畫相對於電影影像的概念又是另一個話題）。他因 2011 年拍攝楊佳襲警

illuminate their subjectivities, artistic approaches, and activist tactics in the context of complex politics, providing varied references

案後，楊佳母親的故事《我還有話要說》，剪輯期間就被迫流亡香港，故鄉家人至今遭警

for possible future actions.

察監控騷擾。期間他正在立法會街頭放映講學中介紹紀錄片，與市民學生討論拍攝作為社 會行動，私人影像創作與公共空間、集體記憶的關係，探尋各種可能性。他說自己是「受

During the student strike and just before the Occupy Central movement broke out in Hong Kong, I interviewed YING Lian, curator

過香港幫助的」，持續在中國大陸外圍活動。組織研究會、影展、社群導演與觀眾之間的

of Chongqing Independent Film and Video Festival. He was forced into exile in Hong Kong because of his 2011 production When

溝通、鼓勵創作或其他行動方案則是他當前的方法，「社群很重要，起碼不孤單」。若以

Night Falls, which was adapted from the real-life story of a young police assaulter's mother. Today, Ying's family in Sichuan are still

此作為想像，近年的轉折或許又是未來各地伏流重新交織迸發的序曲。

harassed and put under close surveillance by the police. During the strike, Ying gave street lectures on documentary filmmaking in front of the Legislative Council, discussing with the citizens and students about how personal filmmaking could influence the shaping of our public space and collective memory. He said "I was aided by Hong Kong," so that he could continue his social and cinematic activism in the peripheral areas of China. To him, hosting study groups, opening up conversations between the filmmakers and the audience, and encouraging people to tell their stories through film are the ways he engage with the society.

"Having a community is crucial. It keeps you from being isolated." If we project the future of the independent cinema in China based on his words, the transition that it is facing right now might be the prelude to the reshaping and convergence of its vibrant underground energy.

相關活動 EVENTS 時間 | 13 : 30 -16 : 30

日日談 論壇 2 _ DAILY TALK Forum 2

日期 | OCT. 13 (MON)

CHINA 獨立紀錄片焦點 Indie Docs in China

與談人 | 張獻民 中國獨立影像展 、陳冬梅 重慶獨立影展、王宏偉 北京獨立影像展、易思成 雲之南紀錄影像展、胡杰 獨立紀錄片導演

講座 4 _ Mini TALK 4

日期 | OCT. 16 (THU)

亞洲紀錄片的今天 ─ 國際 vs. 本土 Asian Documentary Today

與談人 | 林樂群 台灣公共電視國際部經理 、張獻民 China 紀錄片研究學者、藤岡朝子《祭之馬》國際發行、Pimpaka TOWIRA《稻米之歌》製片

地點 | 文化部華山小客廳 @ The Foyer

ZHANG Xianmin the China Independent Film Festival (Nanjing), CHEN Dongmei Chongqing Independent Film and Video Festival, WANG Hongwei Beijing Independent Film Festival, YI Sicheng Yunnan Multi Culture Visual Festival, HU Jie Filmmaker from China.

時間 | 16 : 00 -17 : 30

地點 | 文化部華山小客廳 @ The Foyer

LIN Leh-chyun Director of International Dept., PTS Taiwan, ZHANG Xianmin Documentary Researcher, FUJIOKA Asako Distributor of The Horses of Fukushima, Pimpaka TOWIRA Producer of The Songs of Rice.

TIDF 2014 9th TAIWAN INTERNATIONAL DOCUMENTARY FESTIVAL 第九屆台灣國際紀錄片影展

活動看板 EVENT BULLENTIN

活動看板 Event Bullentin 瓦靠大戲院 Doc Outdoors

佔領 561 小時 + 示威嘉年華 The 561st Hour of Occupation + Demonstration 日期 | OCT .10 (FRI) 時間 | 19 : 30 地點 | 華山大草原 @The Grand Green

秋夜晚風習習，窩在家裡似乎太可惜。走到瓦靠（外 面）到華山大草原除了打滾、散步、遛狗外，紀錄 片影展雙十連假也夜夜安排了精選紀錄片，邀你一 起來與親人、愛人、友人共度美好時光。 Under the stars, feeling the autumn wind, on The

刪海經 The Lost Sea 日期 | OCT .11 (SAT) 時間 | 19 : 30 地點 | 華山大草原 @The Grand Green

Grand Green, TIDF has arranged three exciting outdoor screenings at night for you to enjoy the national holiday!

我的狐狸電影夢 Trucker and the Fox 日期 | OCT .12 (SUN) 時間 | 19 : 30 地點 | 華山大草原 @The Grand Green

紀錄 FUN FUN 看 Special Events

失眠追追追《絕對清醒》Wide Awake 日期 | OCT .12 (SUN) 時間 | 19 : 30 地點 | 新光影城 @ Shin Kong Cineplex 持票觀賞該場次的觀眾，入場前可獲得免費咖啡乙杯！ Troubled with insomnia? Buy your ticket for the screening of Wide Awake and get a free coffee at the screening!

TIDF 邀你狂歡看電影！兩場焦點影人艾倫 ． 柏林 納的創意放映要給你好好玩的電影夜！ Come and join TIDF's sepcial events for Director in Focus - Alan BERLINER!

同名召集令《同名電影》The Sweetest Sound 日期 | OCT .12 (SUN) 時間 | 19 : 30 地點 | 新光影城 @ Shin Kong Cineplex 找到與你名字中一字相同（不含姓）的朋友觀賞該場次，並於官網預約報名，即可免費入場！ Having the "Same Name Syndrome" ? Come with a person who shares the same first name and both of you can watch the film The Sweetest Sound for free!!

報名請上官網 *Please refer to our official website for further details about the admission.

日日談 Daily Talk

論壇 1：運動影像．影像運動 日期 | OCT.10 (FRI)

時間 | 13 : 00

地點 | 華山 A1 @ SPOT Huashan

講座 1：《浩劫：未竟審判》延伸座談 日期 | OCT.11 (SAT) 時間 | 16 : 00 地點 | 華山 A1 @ SPOT Huashan

論壇 2：你所不知道的小川紳介 日期 | OCT.12 (SAT) 時間 | 14 : 00 地點 | 文化部華山小客廳 @ The Foyer

論壇報名請上官網 *For admission, please reserve at our official website.

TIDF 2014 9th TAIWAN INTERNATIONAL DOCUMENTARY FESTIVAL 第九屆台灣國際紀錄片影展