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04
OCT. 16 . 2014
影展快訊
Vol .
在高壓下撐住創作舞台： 「CHINA 獨立紀錄片焦點」論壇 Chinese Curators Sustain Indie Festivals under Political Suppressions
Publication TAIWAN FILM INSTITUTE
TIDF 今年的重點單元「敬！ CHINA 獨立紀錄片焦點」不但網羅 20 部近年中
持續把影展做下去，並讓導演從中獲得更多信心繼續創作，「我們會有自己的堅
Editor
Allen HONG
國各獨立影展佳作，更邀請參與各重要獨立影展的策展人與創作者，一同出
守，也希望導演們有勇氣繼續做下去。」王宏偉說。有台灣聽眾好奇，當中國獨
Feature
Daw-Ming LEE
席 10 月 13 日的「CHINA 獨立紀錄片焦點」論壇。當日吸引國內外關注中國
立紀錄片受到打壓。香港台灣等地能為其做些什麼，應亮導演回答「台灣、香港
Translator
Hsiu- An WAN
獨立影像創作的聽眾參與，現場也由公視 PNN 於網路實況轉播論壇內容。本
都是相對先進、文明的社會，如果能夠做好自己，學會明白、捍衛其擁有的可貴
Design
Melody CHEN
場論壇由台灣電影學者郭力昕主持，包括北京獨立影像展王宏偉、南京中國
性，就是在幫助大陸。」
Printer
Wei Chuang Artworks & Printing Co.,Ltd
獨立影像展張獻民、重慶獨立影展陳冬梅、獨立影像創作者應亮、胡杰等人， TIDF invited curators of the major China independent film festivals to Taipei to
皆出席本場論壇。
attain the forum "Indie Docs in China" on Oct.,13th. The forum was hosted by 當日論壇精彩之處多半集中於觀眾的提問。一位來自北京傳媒大學的交換生
Taiwanese scholar KUO Li-hsin The attendees of included ZHANG Xianmin from
向策展人提問，為何不嘗試透過網路傳播拓展放映管道。胡杰導演以自己為
the China Independent Film Festival (Nanjing), CHEN Dongmei from Chongqing
例回答，他雖不熟悉網路的使用方式，但其作品曾多次被他人上傳，卻也隨
Independent Film and Video Festival, WANG Hongwei from Beijing Independent
即遭到刪除，只有上傳至境外網站才免於被刪。應亮導演則補充，陽光衛視
Film Festival, and independent filmmakers HU Jie, and YING Lian.
於兩年前曾經於網路上舉行「陽光華語紀錄片」影展，並透過宣傳邀請民眾 參與，但當時網站伺服器與微博卻經常不能正常運作，而他認為該次影展的
The discussion between audience and curators was fruitful. A Chinese student
活動成果已差不多抓到使用者參與程度的極限，也說明了在中國能夠自由發
asked why these festivals did not try to expend their influence through internet.
聲的限度，而該尺度鬆緊都掌握在政府手中。
Filmmaker HU took himself for instance in his reply. His films had been uploaded by others for many times, but those files were always immediately deleted by
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
-
另有台灣觀眾請教眾人對近年中國獨立紀錄片風格與主題演變的觀察。張獻
administrators. Only those uploaded to foreign websites would survive. Ying
民回答，作品以 05、06 年的產量最大，之後則穩定增加。在 06、07 年時，
Liang replied that two years ago, Hong Kong broadcaster Sun TV had hold and
曾經出現過一批以荒誕抽象風格反映當時中國現狀的作品，但可惜無法持續
promoted an online indie doc film festival. Yet the serve and the official blog
影響後續幾年的作品。近三年的中國獨立紀錄片則多半在美學形式上多有嘗
malfunction "for no reason" from time to time. He also thought this online festival
試，企圖打破傳統定義。
had mapped out the limitation of the freedom of speech online in China.
美國電影學者 Markus NORNES 則問，既然中國政府擁有隨時封殺影展的能
A Taiwanese audience asked the attendees about their observation of the
力，卻為何仍讓影展持續進行，未徹底封殺。對此，北京獨立影像展王宏偉
transition in subject and style in contemporary Chinese indie docs. Curator Chang
以「貓捉老鼠」為比喻，並認為政府與影展各有自己的任務，且政府在發展
replied that its production quantity reached to the peak in 2005 and '06, and is
Supervised by
Ministry of Culture
文化上仍需影展的力量，只是內容上不能觸動其敏感神經。應亮則分享觀察，
still steadily grow each year. As for the style, there were some films known by
Organized by
Bureau of Audiovisual and Music
認為政府近年的對獨立影展的強腕管制，可能是受 2012 年後的政治環境產生
its abstract and absurd form in '06 and '07, but they didn't make a big influence.
Industry Development, MOC
斷代的影響，加以艾未未於 08 年加入影像創作行列，拍攝大量社會敏感題材
Now, most of the documentaries in the past three years explore the aesthetics of
Taiwan Film Institute
後，政府才對於獨立電影發展方向的認識較有定論，所以才有較多動作。張
the genre, trying to break through the traditional framework.
Executed by
獻民則表示，中國政府的管理準則高深莫測，其政策猶如一種「當代藝術」 精神的實踐，他認為官方不見得清楚自己想要什麼，但一路仍摸索前進，「非
American film scholar Markus NORNES was curious about the politics of the
常有藝術家精神」。
Chinese government, wondering why they didn't shut the festivals for good since they were obviously capable of doing it. Wang (BIFF) replied that the
By 洪健倫 Allen HONG Translated by 洪健倫 Allen HONG
胡杰導演稍後補充，有些創作者作品因為題材過於尖銳，往往不會參加影展，
government purposely keeps these festival alive as long as these festivals
因為他們知道這樣反而會替影展招惹是非，反而僅透過地下流通達成傳播目
wouldn't screening politically sensitive films. Also, the government still need to
的，「因為（創作者與影展）互相之間是彼此關愛的，想呵護中國整個獨立
count on these festivals to develop culture. Filmmaker Ying Liang supplemented
影片可以繼續往前發展。」在場有外籍聽眾好奇當中國政府不費吹灰之力便
with his observation that it was not until 2008, with the emergence of Ai Weiwei
可將眾影展的多年努力抹煞，策展人對此有何看法。王宏偉回應，中國政局
as a filmmaker, Chinese government started to understand the main purposes
與政策的變動非影展所能左右，身為放映單位，只能保持自己一貫的態度，
of Chinese indie filmmakers. Also, the year 2012 was a time when the Chinese regime is in its transition. So the authority would choose to heavily suppress the dissidents. Curator Chang "praised" Chinese government's policy is a work of "contemporary art." That the officials do not really know what they want, but they still move on. Filmmaker Hu later appended that, in fact, most of the politically important documentaries would avoid screening in independent film festivals because they knew it would not do any good to the festival. He also believed that both of the filmmakers and curators "all wish to protect such platforms and let festivals brings Chinese indie films to move forward." Yet, an audience still wanted to know how they felt by seeing the well- established festivals being easily destroyed by authority. Wang replied that they have no right to interpose the transition of regime in China, but what they can do is to "hold onto our value, hoping that filmmakers would also have the courage to move on" said Wang. But what can Hong Kong and Taiwan do for Chinese indie films especially in such a time? The filmmaker in exile Ying replied that these regions are far more civilized than the mainland, so the most important things for them is to "acknowledge the preciousness of their culture and steadily guard such
與談者左起：主持人郭力昕、王宏偉（北京）、張獻民（南京）、陳冬梅（重慶）、胡杰導演、應亮導演 Attendees (clockwise) : the forum host KUO Li-hsin; WANG Hongwei (BIFF); ZHANG Xianmin (CIFF); CHEN Dongmei (CIFVF); filmmaker HU Jie, YING Lian.
advantage. That would be a huge favor for China." 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
談鄧南光的「家庭電影」在臺灣紀錄片歷史上的定位 An Introduction to Deng Nan-guang's Family Films in the History of Taiwanese Documentary By 李道明 臺北藝術大學電影創作學系教授兼系主任 Daw-Ming LEE Professor and Chairman of Dept. of Film Making, TNUA Translated by 萬修安 Hsiu-An Wan
鄧南光《淡水河》
DENG Nan-guang was one of the few trained professional photographers
documents a rapid thunderstorm which reminds me of the acclaimed
in the Japanese colonial era in Taiwan. He had filmed several footage
Rain (1928) by Joris Ivens. I believe that Deng had never seen Ivens'
with micro camera (17.5mm, 16mm, 9.5mm, 8mm cameras). However,
work. Though the two films are not comparable with one another,
these footage should not be understood as merely "family films" that
but Sudden Rain is still a fascinating "cinematic poem." I'm also
documents daily family life and does not serve as evidence that Deng
very impressed by Deng's Insect . The film documents the life cycle
was the "first Taiwanese making documentation with moving images."
of cicada with time-lapse photography. It should be the earliest eco
In my research, there was at least LEE Shu (LEE Song Feng) had filmed
documentary filmed by Taiwanese.
a few footage, including footage of funeral in mid-1920s and newsreels of Taiwan Nichi Nichi Shim Pō (Taiwan Daily News, orTainichi) in 1930s.
During mid-1920s to mid-1930s, it had been a trend of making micro-
Viewing the preserved footage of Deng from the Japanese colonial
films in Taiwan. There were a group of government officials and
era, these works are much more than family film, but can be defined
their families interested in using light equipment to film all kinds of
as footage of documentary. He is, in terms of aesthetic and technical
documentaries in various topics. There were also many film clubs
accomplishment, the best Taiwanese documentary filmmaker in the
founded due to the trend. The members often had shootings and
history. (His colleague,LIU Naou is known for his profound training
regular screenings. There have not been clear evidence that how
鄧南光是日本殖民統治時期臺灣少數經過專業訓練的攝影家，他也曾
and knowledge of documentary film theories, but Liu's works is not
many Taiwanese had joined these organizations founded by the
以小型攝影機（17.5 毫米、16 毫米、9.5 毫米或 8 毫米）拍攝過一些
comparable with Deng's.)
Japanese and if Deng had ever involved in these events. However, the fact that his works had been awarded in Japan indicates his
影片。但說這些影片都是記錄家庭生活的「家庭電影」，或說他是「最 早使用動態影像紀錄的臺灣人」，其實都是毫無根據的說法。根據筆
This year Taiwan International Documentary Festival selects six
association with the film clubs and the documentary filmmaking
者的研究，在鄧南光之前，至少有李書（李松峰）拍攝過動態影像（包
restored Deng's film from the Japanese colonial era. In my perspective,
trend. According to the recent findings of home movies made by
括 1920 年代中後期的葬禮紀錄及 1930 年的《臺灣日日新報》紀錄片
these are not his best works from the period. The Fishing Trip had
businessmen in Dadaocheng and upper class in middle Taiwan, it also
之部分影像）。而從鄧南光留存至今的一批日殖時期影片來分析，可
been awarded by Japan 8mm Film Association, but the film is a loose
refers to the fact that there was a popularity of making micro-films
以發現鄧南光其實拍的不只有家庭生活紀錄，更已有絕對可被定義為
documentation of the event like Tamsui River, Fisherwomen, Some Day
among the upper class in Taiwan during the 20s and 30s. Among these
紀錄片的影片。筆者其實認為，依目前所能找到的證據顯示：鄧南光
which is lack of conceivable structural meaning. As for Taiwan Expo
people, Deng was the only known Taiwanese that has the aesthetic
若非第一位拍攝紀錄片的臺灣人，至少也稱得上是藝術與技術成就最
News on 8mm and Kindergarten Games , they are merely newsreel and
and technical skills. This program positions Deng as a filmmaker
高的第一位臺籍紀錄片創作者。（與同時期的劉吶鷗相比，劉氏雖有
footage of the event as their titles suggest.
within the historical context and redefines the significance of his works according to its condition of making. In my perspective, this is
滿腹紀錄片理論，但拍出來的影片卻遠遜鄧氏。） The film that elevates Deng to an documentary filmmaker is Sudden 臺灣國際紀錄片影展今年遴選的 6 部重新修復的鄧南光日殖時期的影
the reason why we need to revisit Deng's work in this year TIDF.
Rain which is not in the festival selection this year. This poetic film
片，在筆者看來，其實並非他在此時期最好的片子。雖然《漁遊》（與 《動物園》）曾在日本 8 毫米電影協會獲獎，但此片與《淡水河》、《去 看海女》、《某一天》這幾部片一樣，仍太像流水帳般的紀錄，還看 不出經過深思熟慮的結構上的意義。至於《臺灣博覽會 8mm 新聞》與 《臺北幼稚園運動會》兩片，如片名所示，就僅只是新聞或活動紀錄 而已。 筆者認為能把鄧南光提升到紀錄片創作者地位的，其實是本次影展並 未放映的《驟雨》。這部極具詩意的影片，如其片名，記錄了一場來 得快也去得快的「驟雨」，令人聯想到尤里斯 ˙ 伊文思 (Joris Ivens) 膾 炙人口的《雨》(1928)。筆者相信鄧南光應該沒機會看過《雨》，而《驟 雨》的藝術成就當然也無法與《雨》相比，但稱《驟雨》是部令人驚 艷的「電影詩」，相信大多數紀錄片行家應該也不會反對。鄧南光另 一部《蟲》也令我折服。這部片利用「縮時攝影」的技法去記錄蟬羽 化的過程，應該是臺灣人最早拍攝的生態紀錄片。 最後談談為何會出現鄧南光的這批影片。臺灣在 1920 年代中葉至 1930 年代中葉的 10 餘年間，出現過一次攝製「小型電影」的浪潮。 當時有一批總督府高官或其家屬熱衷於使用小型攝影機拍攝各式題材 的紀錄片，在其領導下出現許多小型電影俱樂部的組織，其會員經常 拍攝與放映影片以交換心得。雖然目前尚無證據顯示有多少臺灣人曾 參與這些由日人發起組成的攝影團體，以及鄧南光曾否加入任何俱樂 部，但由他的影片曾在日本獲獎這件事看來，是不能排除鄧氏與小型 電影俱樂部及這股紀錄風潮有關。若以近代出土的幾批當時大稻埕商 賈或臺灣中部世家子弟拍攝的「家庭電影」做為佐證資料，也可推敲 出「攝製小型電影在 1920 與 30 年代的臺灣上流社會頗為盛行」這樣 的結論。只是在這一大批人當中，真正擁有電影攝製技術與藝術的臺 灣人，目前所知道的也只有鄧南光一人。因此，重新定位鄧南光在臺 灣紀錄片歷史上的地位與重要性，筆者認為才是本屆紀錄片影展放映 鄧南光《某一天》
鄧南光專輯最重要的意義。
鄧南光《漁遊》
TIDF 2014 9th TAIWAN INTERNATIONAL DOCUMENTARY FESTIVAL 第九屆台灣國際紀錄片影展
鄧南光《去看海女》
鄧南光《台灣博覽會》
焦點 FEATURE
「時光台灣」看見真實被建構的過程 " Reel Taiwan" Reveals the Making of a Modern Country By 洪健倫 Allen Hong Translated by 洪健倫 Allen Hong
One would wonder, by seeing the shortlist of "Reel Taiwan," why would propaganda films be including in this documentary festival — since their can only be categorized as non-fiction films. Yet, after trying to watch some of the titles, I started to appreciate the concept of this program.
看到「時光台灣」的片單，不免先讓人一陣疑惑，為何在紀錄片影展中
This shortlist focuses on the films made by in the period between
出現了這個以政宣短片組成的單元。當然，若將他們稱之為紀錄片並不
1951 and 1965 by the US-Taiwan cofounded organization, the Joint
貼切，我們頂多可歸之於「非劇情片」這樣籠統分類下。但嘗試著看了
Commission on Rural Reconstruction. These films were made to
幾部影片之後，到也似乎可以開始體會主辦單位的用意。
advertise their policy on improving the living and farming quality in
此單元鎖定 1951 至 1965 年「美援時代」之下，「農業復興委員會」為
Mulan with Agricultural Machinery and A Foolish Fatty (How to Use the
推動農村現代化所設置的一連串的政策宣導影片。主要教導觀看民眾如
Pesticides) for instance both advocate their messages with a form that
何從舊生活、生產方式著手，打造更現代化的居住、農作品質。其中例
we would identify as micro-movie nowadays.
rural Taiwan. Some of them embed their message in interesting stories.
《疾病怎樣傳染》
如推銷耕耘機（也就是大家俗稱的「鐵牛」）的《農機花木蘭》與教導 正確使用農藥方式的《糊塗老二（如何使用農藥）》這些透過生動劇情
However, where is the "truth" in these propaganda images? I think we
與摩登價值觀置入訊息的影片，以現在的眼光來看，簡直就是時下工商
could interpret truth of these film in two ways. First we can look for
界最愛的「微電影」。但此單元多半的影片則多以薄弱劇情包裝政府所
clues in these location-shot films. Usually the narrative would first
欲傳達訊息為主，維持觀看者的注意力。
present the status quo of the rural environment, and then propose solution. This approach provides chances for us to peek the picture of
在這些看似與紀錄片無關的影片中，「真實」出現在何處？我們可以從
the pre-modernized rural Taiwan. Therefore, in How to improve Your
兩個方向思考。其一是從影片中尋找。這些設計過的宣傳影片，多半還
Stove , How to Build the Kitchen Sink , or the mentioned Mulan and
是以外景實地拍攝而成，而其中一個很重要的敘事手法，就是先呈現當
Foolish Fatty , the camera captures the scenery, the domestic space,
下農村生活的現狀，再告知觀者如何將其改造為現代化的生活方式。而
as well as the way of living that might looks unfamiliar to the younger
在前半段的內容之中，我們便有機會一瞥早期台灣農村的生活方式。例
generation.
如教導主婦改造爐灶的《家庭改善－怎樣節省燃料》、教導主婦 DIY 搭 建廚房水槽的《家庭改善－廚房洗槽的作法》，或是先前提到的《農機
Also, the solution those films propose can guide us to the second
花木蘭》、《糊塗老二》等片，都捕捉到了 50、60 年代部分台灣農村
direction of our interpretation of "truth"— one that doesn't exist in the
社會原有的景觀與生活空間。
films, but in the life that Taiwanese as you and me is living in. Have you ever wonder how we (or our parents) transfer our lifestyle into the
而上述影片的後段，則可帶到第二個關於真實的思考方向。這一個真實
way it is now ? In the films mentioned as well as Food for Nutrition and
並不存在於影片之中，而是在你我現在生活的空間裡。你是否曾經想過 我們（或是我們的上一代）是如何從傳統社會的生活方式，過渡到今日
Village Hygiene , you'd be surprised by how our understanding of living are shaped by these government-authorized manual video — although
例如使用水槽、居家愛用白漆、或是開始重視營養等生活習慣。在前述
the comprehension of the fact that we're living in an "artificial reality" is
影片，以及《食物與營養》、《鄰里衛生》等短片中，我們將發現我們
never comfortable to us.
《糊塗老二》
現下生活中有不少概念或習慣，竟曾是在這些由官方公布、細如教學錄 影帶一般的政令宣導片的助力之下，所打造出的「更好的明天」──我
In addition to understand how the truth was shape by the authority,
們活在被官方打造出的真實中，這樣的想法還真讓人有點不是滋味。
these films also shows the source providers of the ideologies and the KMT government's relationship to the providers. Some of them explicitly
除了看到當今的真實被建構的過程，選映的影片也反映了「真實」的來
shows the source of the propaganda, such as How Disease Travels , a
源。不論是疑似以美國提供中美洲的動畫重新剪輯配音完成的《疾病怎
longer advertisement remade by probably US-made animation footages
樣傳染》，或是以歐美影像素材剪輯而成的《傳染病的預防》，都更直
which was originally made for the rural Latin-America; and Preventing
白地透漏了這些教條的輸入源。而不論是《家庭計畫在台灣》如何詳細
the Spread of Disease , a montage of footages shot in western society.
說明衛生單位如何透過教育訓練與完整的組織網絡，鼓吹民眾安裝美國
At the same time, some films mark out Taiwan's passive position as a
發明的避孕器「樂普」，或是以英語配音答謝紐西蘭外賓的《起士的營
consumer in the US-dominated political and economic network, such
養》，則都更清楚標明了美援時代台灣政府在美國主控的全球政經佈局
as Family Planning in Taiwan , a film which promote "Lippes loop" as
之下，所扮演的被動消費位置。
the main solution of birth control, and Chees for Nutrition , an Englishlanguage film made to thank New Zeeland for their dairy supply. 《花木蘭》
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 大師講堂 _ Master Class
台灣國際紀錄片影展邀請艾倫．柏林納來台舉辦「大師講堂」，艾倫將從他 30 多年來的紀錄片創作生涯談起，帶領我們認識聲音、 影像、主題及敘事策略等各種元素的可能性，並談論他以「自我」作為創作題材時可能帶來的風險與益處，也將聚焦在「剪輯過程」 的講解，說明如何創造出令人驚嘆的影音蒙太奇。預約報名已經額滿，現場開放排隊入場，想一窺大師風采千萬別錯過！
真實，歡迎想像 — 艾倫 · 柏林納
A Master Class with Alan BERLINER 日期 | OCT. 18 (SAT)
時間 | 13 : 30
Featuring this year in the 9th TIDF is American documentary filmmaker Alan BERLINER, whose nine renowned works will be see in this year's programme. Not only will he be around the audience for his screenings, he will also teach a master class, sharing his filmmaking journey.
地點 | 文化部華山小客廳 @ The Foyer
* 座位有限，請至官網 www.tidf.org.tw. 預約報名。現場如有空位，將開放排隊入場。
講者 | 艾倫 · 柏林納 Alan BERLINER
* Limited seats available. On the spot admissions will be available shall there be seat vacancies.
日日談 Daily Talk
導演 filmmaker
時間 | 16 : 00
日日談 講座 5 _ Mini TALK 5
日期 | OCT. 17 (FRI)
影展私房話 Chat with Festival Programmers
與談人 | 林木材 TIDF 節目統籌 Sarafina DIFELICE 加拿大 Hot Docs 影展節目經理
地點 | 文化部華山小客廳 @ The Foyer
Carine BERNASCONI 法國真實電影節選片人 藤岡朝子 山形影展 Wood LIN Program Director of TIDF Sarafina DIFELICE Manager of programming Hot Docs Carine BERNASCONI Member of the Selection Committee Cinéma du Réel FUJIOKA Asako Yamagata International Documentary Film Festival
時間 | 16 : 15
日日談 講座 6 _ Mini TALK 6
日期 | OCT. 18 (SAT)
美援時代─ 打開台灣農教電影發展史 Taiwan in the U.S. Aid Period - Reel Taiwan 1951-1965
與談人 | 劉志偉 美援時代研究者 LIU Chi-wei Specialist in Taiwanese History
地點 | 國家電影中心 4F 電影教室 @ Taiwan Film Institute 4F
* 報名請上官網 Please refer to our official website for further details about the admission.
佔領 561 小時 + 示威嘉年華 The 561st Hour of Occupation + Demonstration
瓦靠大戲院 Doc Outdoors
日期 | OCT .17 (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 Grand Green, TIDF has arranged three exciting outdoor screenings at night for you to enjoy the national holiday!
刪海經 The Lost Sea 日期 | OCT .18 (SAT) 時間 | 19 : 30 地點 | 華山大草原 @The Grand Green
我的狐狸電影夢 Trucker and the Fox 日期 | OCT .19 (THU) 時間 | 19 : 30 地點 | 華山大草原 @The Grand Green
頒獎典禮 2014 TIDF Award Ceremony
日期 | OCT .16 (THU) 時間 | 19 : 00 地點 | 傳音樂展演空間 @ Legacy Taipei 國內外紀錄片共襄盛舉，國際亞洲台灣百家爭鳴，究竟最後獎落誰家？ From Taiwan, across Asia, and to the reaches of the world, TIDF rounds up the best of today's documentaries. Who will take home the prize? * 憑邀請函入場 BY INVITAION ONLY
林木材 Wood Lin 影評人、TIDF 台灣國際紀錄片影展節目統籌 Film critic, 2014 TIDF program director
TIDF 視野 VISION
「再見 ． 真實」是今年影展的精神，不是主題。在台灣，還是有很多人認為紀錄片應該是某種樣子，拋出「再見 ． 真實」這個精神的用意，一方面顯示我們必須引介新的片子，另一方面也該讓我們重新理 解過去台灣拍攝過什麼重要的紀錄片，讓大家思考紀錄片是什麼。若你要說我們影展有個主題，我覺得那個主題最重要的就是「紀錄片本身」，而不是環保、人權等議題，希望這是我們影展最大的轉向。意 思就是紀錄片是最重要的主題，所以在我們的影展裡，嚴格來說你會看到一些劇情片、動畫片，可是他們都符合某種抽象的真實精神，只是這個導演怎麼用影像去解釋他所見的真實。所以真實並不絕對，反 而是相對的。而我們的影展希望展現的，就是「真實」的豐富樣貌，跟紀錄片的多元性。 "Let's Re-encounter Reality!" is not a theme, but the spirit of TIDF. In Taiwan, there are still people considering documentary as films of a certain form. Therefore, the proposal of "re-encounter reality" on one hand suggests that we should introduce more new films. On the other hand, it also remind us we should also review Taiwanese documentaries, finding out the significant works we made, and let audience to reconsider the definition of documentary. If there should be a theme for our festival, I think it shouldn't be the environment, nor the human right, but the "documentary itself." By which, I meant documentary is the central subject of our film festival. Although you'd see fiction films and animations in our shortlists, they all fit in a broader meaning of reality, the central spirit of documentary — just that the filmmakers chose to use another form of visual language to explain the realities they saw. So there is no certain definition of reality, but only the relative ones. What we want to show in TIDF is that rich layer of "realities" and the variety of documentary.
TIDF 2014 9th TAIWAN INTERNATIONAL DOCUMENTARY FESTIVAL 第九屆台灣國際紀錄片影展