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TIDF EXPRESS
03
OCT. 14 . 2014
影展快訊
Vol .
1986 鹿港反杜邦 / 蔡明德攝影
發行
財團法人國家電影中心
主編
洪健倫
特約撰述
陳平浩
特約翻譯
謝璇、萬修安
美術設計
陳瑋華
印刷
威創彩藝印製有限公司
-
台灣運動影像先驅「綠色小組」 榮獲 TIDF 卓越貢獻獎 TIDF to Honor Green Team's Contribution to toTaiwanese Movement Cinema
Publication TAIWAN FILM INSTITUTE Editor
Allen HONG
Feature
Ping-Hau CHEN
Translator
Xuan XIE, Hsiu- An WAN
Design
Melody CHEN
Printer
By 洪健倫 Allen HONG Translated by 謝璇 Xuen XIE
1988 蘭嶼反核廢 / 蔡明德攝影
移師台北，從雙年展改為年展，並成為國家電影中心的常設機構之後，今年
After moving its venue to Taipei city, changing its cycle from biennial to annual
可以視為台灣國際紀錄片影展（下稱 TIDF）下一個階段的開展。今年 TIDF
event, and becoming a permanent institution in Taiwan Film Institute, the festival
特別於增設了「傑出貢獻獎」，希望鼓勵台灣的紀錄片工作者，也希望台灣
this year seems to be a new start for TIDF. Also, it implements a new prize, the
社會除了推崇國外影人大師，也能為台灣紀錄片工作者的重要貢獻給予更高
"Outstanding Contribution Award," to honor illustrious Taiwanese documentary
的肯定。主辦單位宣布將把今年的榮譽，獻給記錄台灣社會運動的先驅 ──
filmmakers. This year, the honor goes to the "Green Team," the pioneer of
「綠色小組」。
Taiwaneses Movement Cinema.
綠色小組由王智章發起、集結李三沖、林信誼、傅島等人為核心，成立於
The Green Team is established in 1986 by WANG Chi-Chang. Its member included
1986 年 10 月，是解嚴前後台灣社會運動與民主改革之路上，最重要的影像
LEE San-Chung, FU Dau, and LIN Shin-I. It is the first and the most important
記錄團隊。1984 年的台灣發生多起礦災，超過百人死傷，主流媒體對外卻粉
photologging unit before the abolishment of the Martial Law. The origin of the
飾災情。王智章時任黨外刊物《前進》雜誌攝影記者，與文字編輯持續追蹤
Green Team can be traced back to 1984. That year, coal mine tragedies in Taiwan
報導受災傷患，極力嘗試透過舉行記者會，公開於災區醫院拍攝的畫面，讓
caused hundreds of casualties. Whereas all the mass media whitewashed those
傷者現身說法，企圖引起主流媒體與社會的關注，雖未如願獲得大量媒體報
accidents. As a journalist of underground magazines then, Wang tried to unveil
導，但記者會本身仍獲得很好的迴響，為受害者開啟了發聲管道。兩年後，
the truth and hardship of the wounded that the mass media wouldn't concern.
一半是為了記錄新成立的民進黨，以及對抗威權的社會運動，王智章更成立
Two years later, partly hoping to record how the nominees of the opposition party
了綠色小組，更積極自發地記錄與傳播被主流媒體忽視的事件現場影像。
DDP's compete with rivals from the KMT in election, partly to unveil more facts concealed by the authority-controlled mainstream, Wang found the Green Team.
指導單位
文化部
綠色小組有三個重要使命：記錄台灣社會運動、傳播影像、以及與大眾傳播
主辦單位
文化部影視及流行音樂產業局
媒體進行抗爭。他們拍攝了包括桃園機場事件、520 農民運動、鹿港反杜邦等
This unit had three main missions: recording local social movements, spreading
承辦單位
國家電影中心
大約三千小時的社運影像。他們和小川攝製組一樣，在長時間和抗爭群眾並
the images and counterpart resisting the mass media. They filmed almost 3,000
肩作戰下，綠色小組和社運團體建立起強烈的革命情感。在抗爭現場，他們
hours of footages including every important event such as the 520 Farmers
也同樣將鏡頭對準軍警，記錄下國家機器的濫權，並在拍攝完成後快速剪出
Movement and the Anti Du-Pont Movement. Just like Ogawa production, they
Advisor
Ministry of Culture
15 分鐘的新聞快報，並在 24 小時內送至各民代員服務處或社會團體據點放
were closed partners with social movement groups. They record the unjust by
Sponsor
Bureau of Audiovisual and Music
送，此外他們也透過街頭販售、訂閱錄影帶、刊物等方式，讓關心政治運動
camera, and rapidly spread the tapes through underground screening, vendoring,
Industry Development, MOC
的民眾看見主流新聞媒體上所看不見的真實訊息。直到 1990 年，越來越多地
and subscribing videotapes or publications. Until more and more people in the
Taiwan Film Institute
下電台出現，傳播被主流媒體壓抑的訊息，也有更多人參與了記錄社運的行
1990s started taking part to reveal the alternative information, the Green Team
列，綠色小組才功成身退宣布解散。
was thus dismissed by its members .
傑出別貢獻獎評審之一的郭力昕教授表示，解嚴時期新聞媒體被黨國機器控
The jury member professor KUO Li-Hsin praised the efforts Green Team
制，綠色小組用這種方式來記錄各式各樣的社會運動，直接衝撞並突破黨國
has contributed during the martial-law era. They used such straightforward
對媒體的控制，揭露了真實，是非常重要的團隊，他讓人民第一次有機會透
approach to record the social movements and impinge upon the authority. They
過影片看見被遮蔽的真實，在綠色小組成立 28 周年之際，他們絕對值得接受
let Taiwanese people witness for the first time images of the concealed truth.
台灣社會的肯定。
After the 28th anniversary of their establishment, they deserve to be honored.
Organizer
1988 老兵返鄉隨團記錄出發前 / 蔡明德攝影
1986 中央民代選舉 / 蔡明德攝影
TIDF 2014 9th TAIWAN INTERNATIONAL DOCUMENTARY FESTIVAL 第九屆台灣國際紀錄片影展
焦點 FEATURE
穿過傷口，航向黑暗之心 ──《浩劫》 Review: Shoah Sails towards the Heart of Darkness By 陳平浩 Ping-Hao CHEN Translated by 謝璇 Xuen XIE
克勞德．朗茲曼 1985 年的《浩劫》已是二戰納粹屠殺猶太人之方尖碑
Claude Lanzmann's epic, Shoah (1985) has been a masterpiece among
之作。納粹的集中營徹底體現了希伯來文「Shoah」和英文「Holocaust」
the stories about the Holocaust. The Nazi concentration camps
此二詞彙之意，成了人類史與文明史上的黑洞、無光的所在 —— 儘管創
completely represented the connotations of the word "Shoah" in
世之初，「上帝說要有光，就有了光。」
Hebrew and "Holocaust" in English. Those locations were the lightless black holes of human civilization history— Even though the God claimed
這部長達九小時的史詩，啟航於一位被迫在集中營擔任歌童、娛樂軍官
in Genesis : "Let there be light: and there was light."
的年老倖存者；波蘭民謠由遠至近，伴隨一葉小舟、徐緩行過林中河流， 抵達寧謐霧綠的草場，「就是這裡。」—— 這裡是集中營遺址。倖存
This nine-hour epic started with an elderly survivor who was once
者和攝影機並肩而行，然而，誰是但丁？誰是魏吉爾？這是中歐的《神
forced to be the singer and entertainer in the camp. Accompanied by a
曲》。
Polish folk song, a boat slowly approaches the serene and foggy-green lawn. The camera follows the survivor parallel. "This is it."— There we
它亦是歐陸版本的《黑暗之心》。攝影機貼沿鐵軌、回溯歷史的黑水，
are standing among the ruin of the concentration camp. This is a mid-
抵達猶太人的終站 —— 集中營遺址，暫時停泊、久久低迴。與這趟航程
European version of Divine Comedy . However, who was the Dante? Or
平行的，是導演訪談的大量「親歷者」：倖存者、旁觀者、以及加害者。
who was the Vergil?
這些證詞，以口述歷史獨有之「在場者之即席言語」呈現，皆是活生生
克勞德．朗茲曼 Claude Lanzmann
鐵錚錚的史料文獻。這些證言一方面共同補綴與印證真實；然而，其彼
This film is also the European version of Heart of Darkness . The camera
此間的細微參差則呈現另一種真實：倖存者或吐露了創傷、或敘說了過
sails through the dark history, crouches along the railway, and finally
度嫻熟而戲劇化的見證；旁觀者如今熱情地掩飾當年的冷漠；被偷拍的
berths and lingers at the terminal station of the Jews: the concentration
past. The sites and the scenery of the concentration camps are a
加害者，委婉自辯的過程則意外道破極權的黑暗核心。
camps. Our companions are the numerous "experiencers" that the
solid geographical place and also an abstract space. Are they looked
director had interviewed with. They are the survivors, outsiders and
extremely different today comparing to the past? Or they tortuously
除了無盡的語言，還有寧靜的影像 —— 河流，土地，森林，集中營廢墟。
persecutors. Those testimonies become concrete and realistic history
represent the purgatory? Can this reflection be defined as "mark",
倖存者也是「再訪者」，不只重返創傷記憶裸露地層，也親身再次行走
because they are represented by a unique way of Oral History: the
"carver" or "trauma"? Or, the landscapes overlapped interactively
於當年的「現場」、當下的「歷史場景」。集中營遺址及其風景，既是
impromptu language of attenders. On the one hand, these testimonies
then finally superimposed into a multiple image? Have the sites been
具體的地理空間，亦是抽象的意義場所 —— 其今與昔是否全然迥異？或
prove the reality; on the other hand, the differences between the words
projected on the landscape by the narratives? Is being exposed on the
者今日的風景幽微迂迴地反映了昔日的煉獄？此一反映，能否稱作「烙
reflect another version of reality: The survivors might express the
film necessary in order to represent these spatial images?
印」、「銘刻」、或「負傷」？或者，今昔地貌其實相互堆壘、構成「疊
wounds or the over practiced testimonies; the outsiders try to cover up
影」？而「當年現場」是否透過了「語言」而（得以）「投影」於「當
their neglect; those persecutors who were snapshotted however point
Traveling on the railways heading to the ruins, the camera repeatedly
今地景」上？這些「場所影像」是否必須透過膠捲之感光，才得以「準
out the darkest core of the totalitarianism accidently by self-justification.
returned to the beginning of film history and documentary at the same
影史和紀錄片的創世 —— 盧米埃兄弟《火車進站》。於是，銀幕不只是
The film includes endless narration and silent images: rivers, lands,
screen is not only a window or a mirror, it's a wound as well. Through
窗或鏡，也是傷口 —— 透過它，《浩劫》不只關乎歷史見證，也關切了
forests and the concentration camp sites. The survivors are the re-
the screen, Shaoh is a film about history and a masterpice in search
光影與陰翳，言語和影像、再現與真實。
visitors. They not only review the coverless skin of their wounded
of the contrast between light and darkness, language and image,
memories, but also return to the sites and historical scenes in the
representation and reality.
time — The Arrival of a Train by the Lumière Brothers. As a result, the
確顯影」？攝影機在前往一座又一座末日廢墟的鐵道上，也重複返回電
TIDF 2014 9th TAIWAN INTERNATIONAL DOCUMENTARY FESTIVAL 第九屆台灣國際紀錄片影展
焦點 FEATURE
民主戰場的九塊拼圖： 民主戰場的九塊拼圖： 《太陽，不遠》社運紀錄片論壇 《太陽，不遠》社運紀錄片論壇
-Sunfl Sunflower owerOccupation Occupation will willPresent PresentNine NinePieces Pieces of ofPuzzle Puzzleof ofthe the318 318Democracy DemocracyBattlefi Battlefield eld
By 洪健倫 Allen Hong Translated by 洪健倫 Allen Hong
October 10th, is the National Day of the Republic of China. The officials gathered at the Presidential Office and celebrate the birth of a nation. Meantime not
10 月 10 日國慶日，官員們在總統府前張燈結綵慶賀國運昌隆，
far from the palace, the Taipei Documentary Filmmaker's Union recapped
在距它不遠的光點華山電影院，紀錄片工會則搶先放映了紀錄
audience's memory of a fierce fight for democracy in March with three exclusive
長片《太陽 ． 不遠》的精華，帶影展觀眾回顧今年三月在立法
clips of their collective work, Sunflower Occupation . 40 filmmakers volunteered
院、行政院前，青年世代在國家暴力下一同經歷的一場民主保
to film the Occupation, and 10 directors helped to organize the materials into a
衛戰。集結 40 多位影像工作者協力拍攝，並由 10 位導演共同
9-parted feature-length documentary.
創作出這一部紀錄長片，本片將分為九段主題切入事件。而 10 日的放映片段則是其中的三段影片。
The first section they presented is directed by FU Yu. It told a story of how does CHEN Wei-ting, a graduate student and an advocator, accidentally become an
第一段〈不小心變成總指揮〉由傅榆執導，主人翁為 318 抗爭
opinion leader of the Occupation. Interestingly, director Fu seems to contrast
運動核心人物之一的陳為廷，傅榆近身探詢了他對自己突然中
the forming process of the opinion leading system and their relationship with all
成為意見領袖的感想。有趣的是，傅榆似乎也藉由在議場內外
the participants of the Occupation to the mechanism of the government and its
形成的微型社會，與陳為廷面對眾人之聲的心情，對照了民主
relationship to the civilian.
體制下國家機器和人民之間的關係。 The second section presented focused on interviews with college and high school 第二段〈世代正義 ． 藍綠之爭〉則由周世倫導演執導，從一位
students. It shows their neutral political affiliation, which was oversimplified by
大學生「小小」出發，帶向一系列和學生進行的訪談，呈現在
mainstream media as the thugs of the oppositional party. Through the interviews
主流媒體將這場社運簡化為反對黨的政治手段時，參與其中的
they talked about the binary politic culture today, and the meaning of attending
學生如何看待他們自己，思考台灣非藍即綠的媒體政治文化，
the Occupation.
上一世代對他們的誤解，以及這場運動對他們自己真正的意義。 The last section focused on the violent eviction took place at Executive Yuan 最後一段〈一夜之間 ． 我長大〉則由《公民不服從》陳育青導
on the night of March 24. Directed by CHEN Yu-ching, the director of Civil
演執導，該段內容聚焦 3 月 24 日抗爭民眾占領行政院一樓大廳
Disobedience, she acquire a good deal of footages from civilians who were at the
後，政府以鎮暴警察、水車粗暴驅離抗爭民眾的過程。除了集
scene that night as proofs of the denied fact that national violence really took
結大量公民拍攝的鎮壓畫面作為控訴，導演還持續追蹤了 324
action that night. Also, she dig deep into the complex situation of the victims
受害者支持團體，讓我們看到那一晚，在行政院一樓大廳見到
through interviews of their traumatized memories.
拿著棍棒的警力將他們層層圍起時，驚恐卻又複雜的心情。 After the screening, organizers of this project dir. HO Zhaw-ti and TSAI Chung映後，計畫主持人賀照緹、蔡崇隆，以及成員傅榆、李惠仁導
Zhong, and two participants FU Yu and LEE Hui-jen began a mini forum to talk
演一同進行了一場以「運動影像 ． 影像運動」為題的論壇。賀
about the activism within the action of making documentary. Ho thought the
照緹導演表示，318 是一場青年世代發聲的活動，凸顯台灣現
action of the students in this movement was like throwing themselves as eggs
行民主制度的問題。而學生在這場行動中有如將自己當作雞蛋，
to the high wall of the government. To her, documentary filmmakers at the
執往由政府與警察築起的高牆，而這些紀錄片工作者在作的則
frontline was the protectors who catch these eggs safely and make sure they
是接下這些脆弱的雞蛋，讓他們得以孵化成長。
would hatch and grow.
蔡崇隆導演則表示，當時許多影像工作者自 318 首日便開始記
Tsai explained that the project was proposed on the next day of the broke-out of
錄事件，大家也在討論還能為這件事做些什麼。而《太陽 ． 不
the police's evacuation. They hoped to seize back from mass media the authority
遠》的拍攝計畫始於佔領行政院後的隔日，他們希望能夠為社
to interpret the movement, and present points of view close to the people and the
會從主流媒體之中奪回對這件事的詮釋權，呈現貼近人民、土
land. However, under the limit of the available resources, they can only inspect
地、不受利益影響的觀點。但他也坦言，在人力物力皆有限的
the Occupation from 9 different angles, which they knew is only a few pieces of
狀況下，這部紀錄片由九個主題切入，只能說是呈現了這整個
puzzle of the whole picture.
事件中的九塊拼圖。 Director Lee emphasized the urgency of time in the process. According to 李惠仁導演也補充，由於當時必須盡快找出切入點進行訪談與
his explanation, they had to decide the topics of their investigation as soon
拍攝，因而很難顧及每一個層面，但對於受過新聞訓練的他們
as possible, so that members of the project could set out to find the proper
而言，盡快找出主題是當時的當務之急，在最近的香港佔中事
materials before the Occupation start to conclude. Documentary filmmakers
件之中，香港的紀錄片工作團體采風也向李惠仁請教在抗爭現
in Hong Kong also turn to him for advice of how to film the Occupying Central
場組織紀錄工作的方式。本片預計將於 10 月 31 日正式首映。
movement. Sunflower Occupation will be premiered on Oct. 31.
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 日日談 Daily Talk
時間 | 16 : 00
日日談 講座 3 _ Mini TALK 3
日期 | OCT. 15 (WED)
記憶線索─尋找偽紀錄片 Documemory & Mocumentary
與談人 | 侯季然 台灣電影導演 、黃以曦 影評人
地點 | 文化部華山小客廳 @ The Foyer
HO Chi-jan Taiwanese Filmmaker, Estella HAUNG Film Critic
* 報名請上官網 Please refer to our official website for further details about the admission.
預測首獎 Forecast the Grand Prize winners of TIDF
觀眾票選獎 Audience Award
知評審莫若你！綜觀影展影片後，至官網預測三大首獎得獎影片，就有機會將收
欣賞完競爭激烈的國際、亞洲與台灣競賽單元影片走出戲院，你也有話想說？將你對影片的評價
藏家防潮箱、合成帆布行零錢包等超值禮品帶回家！
留下，一同決定最佳觀眾票選獎得主。投下票選單你就有機會得到影展特選的獎品，更有機會參
Forecast the Grand Prize winners of TIDF!
與 10 月 16 日在 Legacy 舉辦的 TIDF 頒獎典禮，一起見證大獎得主誕生。
Are you a cinifile? Here is the chance to prove that you've got the taste of the jury!
YOU decide the winning film for TIDF Audience Award! Rate the film you just watched, and you
Share your winner forecast on our website for this year’s TIDF Grand Prizes
might become one of the prizewinners, and also win a pass for TIDF award ceremony at Oct 16!
of International, Asian Vision and Taiwanese Competition, and win the chance to bring home our exclusive prizes.
黃建宏 HUANG Chien-hung 學者、策展人、亞洲競賽初選小組成員 Scholar, Curator, Selection Committee member of the Asian Vision Competition
TIDF 視野 VISION
從今年的亞洲參賽作品要去訴說一個概況，是一項越來越不可能的任務。而且我們無論從創作者國籍、製片國第、片中涉及的民族與社群等等，「亞洲」對人文的挑戰就在於不斷的流動輻射，並在輻射中聚集， 這是過往幾百年由歐洲建構的史觀與地理觀所無從下手的狀態。首先，影像技術與特定文化間的構連關係越辯越明顯，也就越來越難成為一種一般性判準；從這些作品中，當我們看到消抹製作生態的高畫質 出現時，似乎懷疑也頓時浮現。另外，全球化中的資本機器同時也引發了文化機構與 NGO 的抵抗，這使得紀錄片的製作條件越來越機構化、戰鬥化，每個地區似乎都出現了區域關懷的聚集效應，如台灣的 小農栽植、香港的市民記憶、中國的質疑和諧社會、現代發展對偏遠生活模式的消滅以及三年饑荒、日本的震後心理重建、韓國的家庭和解、印度的兒童教育、東南亞的內戰記憶與民主運動等等。其中也出 現大量年輕化的影像紀錄形式，特別著眼在個人史與城市的文化史、政治史的交會；許多短小的作品表達了解放紀錄形式的意圖，並嘗試跳出紀錄片的倫理框架，表現不同的情感結構。這些多樣的發展（除 了西亞影片的相對小量）都使得紀錄片影像正召喚著另一種更為新穎的命名。 It is almost impossible for us to identify a general trend from the submitted films in Asian Vision Competition this year. With the filmmakers' nationalities, the production nationalities, the ethnic and community issues involved in their works, along with all the relevant context, these films challenge the definition of "Asia." They radiate the definition, and yet once again concentrate within that radiation. This a status that the Europe-oriented concept of history and geography are unable to comprehend. First of all, throughout our discussion the articulation between the cinematography technique and its cultural context became more evident. So it was difficult for us to figure out a unified criterion. Also, when HD image — a production that erase the ecology of the production — appear before us, we became suspicious to what we saw. Moreover, the existence of capital mechanism in globalization also triggered resistances from cultural institutes and NGOs. Such trend makes the production value of a documentary become more institutionalized and combating. Therefore, filmmakers from varied regions all focus their concern on community issues. Also, many submissions shows a younger expressions of documentary. They focus specifically on the rendezvous among histories of persona, cultural, and political spheres. Among them, many short films attempt to not only liberate the form of documentary, but to free themselves from the ethical framework of documentary. Hence they came out with a different affect structure. These manifold development we observed in Asia seems to innovating a new name for this genre.
TIDF 2014 9th TAIWAN INTERNATIONAL DOCUMENTARY FESTIVAL 第九屆台灣國際紀錄片影展