快訊vol05

頭條 HEADLINE

WWW.TIDF.ORG.TW

TIDF EXPRESS

05

OCT. 18 . 2014

影展快訊

Vol .

發行

財團法人國家電影中心

主編

洪健倫

撰述

何思瑩

翻譯

何美瑜 洪健倫

美術設計

陳瑋華

印刷

威創彩藝印製有限公司

-

南韓獨立之聲推手： 專訪韓國紀錄片發行商 CinmaDAL

The Amplifier of the Indie-Voice in South Korea: CinemaDAL

Publication TAIWAN FILM INSTITUTE Editor

Allen HONG

以三星半導體工殤抗爭為題的南韓紀錄片《貪欲帝國》一舉拿下今年 TIDF 國

Feature

Mimi HER

際競賽首獎，記錄農民對抗公部門土地開發的《八堂的綠色之戰》也在亞洲

Translator

Isabella HO Allen HONG

視野競賽中拿下優等獎，南韓紀錄片在今年競賽項目表現十分亮眼。而幫助

Design

Melody CHEN

這兩部片在國際發光的，是同一雙推手──韓國紀錄片發行商 CinemaDAL。

CinemaDAL

Wei Chuang Artworks & Printing Co.,Ltd

他們是韓國境內唯一專門發行獨立紀錄片的團隊，據其指出，近年韓國紀錄

stage of production and post-production such as Korean film council, local film

片國內市場的環境不但沒有改善，反而有惡化的跡象，而國際紀錄片市場也

commissions provided. Also, national film festivals, for instance International

並非一直處於穩定的狀態其實，他們一路走來始終都不容易。但除了持續尋

Women's Film Festival in Seoul, JPM (Jeonju Project Makret, Jeonju IFF), DMZ

找在國內外發行韓國獨立紀錄片的新管道，讓更多人看見韓國紀錄片外，

Projects Markets (DMZ Docs) and AND FUND (Busan IFF), have their financial

更重要的，也是希望透過這些影片守護他們認同的價值觀。我們也訪問了

support programs for documentary production.

CinmaDAL，請他們分享對於韓國紀錄片產業現況的觀察，以及關於《貪欲帝

There were only few of public funds we could reach out years ago. But, new

國》與《八堂》在攝製與發行上所遭遇的挑戰。

trend of funds organized by enterprises or ventures has been recently emerged.

Printer

—— When making an independent film, how did they fund their project? Does the government provide fund for independent doc-makers?

Basically, there are public funds for Korean documentaries at the

Nonetheless, the whole amount of production fund is still very tight considering South Korea was one of the big winners in 2014 TIDF competitions. The

the number of documentary production a year.

Empire of Shame , the film about a group of Samsung employees protesting over occupational disease they suffered, won the Grand Prize in International

—— 《貪欲帝國》與《八堂的綠色之戰》都記錄了公民對抗政府與企業權威的

Competition; while Paldang , a film about peasants fought against the

過程，這些影片從拍攝到上映中是否遭遇過什麼樣的困難？

government to guard their land, won the Merit Prize in the Asian Vision Competition. Behind these two award-winning films is a team that brought

CinemaDAL

them to a wider stage—Korean distribution company CinemaDAL. It is the

絕開放媒體試片，因為影片內容處理到三星企業的敏感議題。也有影展因為他們

-

only distribution company specialized in independent documentaries in Korea.

的基金會補助了這部影片，而遭到三星抽走企業贊助影展的資金，這是社會權勢

指導單位

文化部

Yet, the road they walk on is never easy, while, according to CinemaDAL, the

在打壓這種社會紀錄片的時常見的情形。除了這些困難之外，拍攝經費和人力的

主辦單位

文化部影視及流行音樂產業局

domestic situation for indie-docs in South Korea gets no better or even worse.

短缺對獨立紀錄片來說也是一個十分麻煩的問題，因為例如《貪欲》與《八堂》

承辦單位

國家電影中心

At the same time, it is too early to say that international market is stable.

這樣的紀錄片都需要相對較多的時間和被攝者建立關係。

拍攝三星半導體工廠工殤的《貪欲帝國》在韓國上映時，我們被拒

Therefore, their main goal now is to search for new approach to produce and distribute Korean documentaries in local and global markets. More

Supervised by

Ministry of Culture

importantly, they hope to preserve their identity through documentary. We

—— The Empire of Shame, and Paldang are films that recorded the fight between civilians and authorities (both Samsung and Korean government) did the

Organized by

Bureau of Audiovisual and Music

invited CinemaDAL to share their observation of the status quo of the Korean

filmmakers encounter any difficulty during the process?

Industry Development, MOC

documentary industry, as well as the hardship that Shame and Paldang went

Taiwan Film Institute

through in their production and distribution.

-

Executed by

CinemaDAL When The Empire of Shame , which is about laborers of SAMSUNG semiconductor plant suffering from their occupational disease, was released

—— 請問南韓每年有多少部紀錄片問世？其中又有多少紀錄片能夠進入國際

in Korea, we were rejected to open the theaters for a press screening because

市場或是國際影展？

it is dealing with sensitive SAMSUNG's issues. A film festival that had granted support funds for this film was also cut off their sponsorships from SAMSUNG.

CinemaDAL

By 洪健倫 Allen HONG Translated by 洪健倫 Allen HONG

我們粗估每年韓國拍出的紀錄長片數量大約在 80 到 100 部之

It often happens to suppress this kind of social documentary in production and

間，這個數字是根據每年報名韓國境內影展的紀錄片數量統計而來，所以除

distribution level.

此之外可能還有更多作品，如果把短片也算進來，一年大約有 100 部紀錄片。

Aside from these difficulties, production costs and lack of staffs are always

在過去兩年中，大約有 30 部韓國紀錄片被引進到國際市場和影展上。

troublesome since the independent docs like The Empire of Shame , Paldang need relatively more time to build relationships with protagonists.

—— How many independent documentary could be produced each year in South Korea? How many films can reach the international market or film

—— 《貪欲帝國》在歐洲影展收到的反應如何？

festival?

CinemaDAL CinemaDAL

當這部片今年四月在瑞士真實影展中放映時，很多觀眾看到片中年

We assume that 80 to 100 feature-length documentaries

輕女工受職業傷害所苦卻無法受到公司賠償，都為她們感到難過。尤其歐洲女性

are produced each year on average. This number is only based on official

觀眾更是同情這些年輕勞工。在映後座談裡，他們都很關心這些人的現況。此外，

submissions to domestic festivals so it could be more than that in actual

在高科技工業背後惡劣的勞動條件在全球處處可見。因此這部片探討的並非本地

figure. If we include shorts, it will be much over 100 films. In the past two

議題，而是一個全球性的問題。也因為這樣，各國勞工影展、社會團體、以及電

years, about 30 Korean docs are introduced through international markets

視頻道都非常關注這部紀錄片。

and festivals.

—— How was The Empire of Shame received in Europe?

—— 在韓國拍攝獨立紀錄片該如何籌措基金？韓國政府是否提供紀錄片工作 CinemaDAL When it was screened at Vision Du Reel (Switzerland) this April,

者相關補助？

many audiences felt sorry for young female laborers who suffering from CinemaDAL

《八堂的綠色之戰》

基本上，我們有幾項公立基金，分別為正在攝製中或進行後製

occupational disease that the company does not accept responsibility. Especially,

的韓國紀錄片提供補助，提供補助的單位包括韓國電影振興委員會，以及各

European women audiences aroused their sympathy more about these young

地方政府的電影委員會。此外，例如包括首爾國際女性影展、全州國際影展

workers. After screening, they asked many questions about them. Also, poor

的企劃市場展、DMZ 紀錄片影展的企劃市場展、釜山影展的 AND FUND 等公

working conditions problems behind highly-advanced electronics industry have

部門舉辦的電影節，也都有舉辦相關活動為紀錄片拍攝提供經費上的支援。

been occurred all around the world. It is not only local issue but international

過去我們能夠觸及的公立基金並不多，但是民間企業、投資者之間也正有一

problem. In this reason, the documentary has had many attentions from global

股潮流成立相關創投基金。儘管如此，從每年製作的紀錄片數量看來，目前

labor fests, communities and labor channels.

所有的製片創投基金資源仍十分吃緊。

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

焦點 FEATURE

《貪欲帝國》控訴三星工殤獲國際首獎 《玉門》傲視華人征服亞洲 Winners Unveiled: Empire of Shame conquered the World while Yumen champion in Asia and Chinese Doc By 何思瑩 Mimi HER Translated by 何美瑜 Isabella HO

台灣競賽首獎《公民不服從》

TIDF 於 10 月 16 日揭曉競賽結果，《貪欲帝國》勇奪「國際競賽」首

TIDF announced its award winners on the evening of 16th October. The

and false in reality. Upon receiving the Prize, director CHUNG Chuan

獎，中國獨立紀錄片《玉門》榮獲「亞洲視野競賽」和「華人紀錄片獎」

Empire of Shame , a film about occupational hazard and the workers'

explained that what he concerns about is not a huge social issue but

兩個首獎，《公民不服從》和《正面迎擊》則拿下「台灣競賽」的首獎

protest against Samsung won the Grand Prize in the International

a group of ordinary men passionate about wrestling; nevertheless,

和優等獎。《貪欲帝國》以南韓最大企業「三星集團」員工接連罹患白

Competition. Yumen , an independent Chinese documentary, won the

he was happy that his return to the essence of creativity gained

血病及罕見疾病的工殤事件為主軸，呈現受害員工長達七年的漫漫抗爭

Grand Prizes in both Asian Vision Competition and Chinese Documentary

acknowledgement from the jury. Again, he shouts out loud, "Go! Hong

路，評審團認為《貪》片「揭露了大企業的不公與虛偽，更展現出非比

Award. In Taiwanese Competition, Civil Disobedience is awarded the

Kong, go!"

尋常的力量。」導演洪里烱得知獲獎後表示，自己也曾擔心作品真的能

Grand Prize while the Merit Prize goes to Face to Face.

Several special awards are created this year, and amongst them,

幫助到這些受苦的員工嗎？員工告訴她，只要能讓更多人聽見他們的故 事，就能帶來很大的勇氣，導演希望將首獎榮耀與這些勇敢抗爭的員工

The Empire of Shame centres on a group of Samsung employees who,

Outstanding Contribution Award goes to the Green Team, which

們分享。「國際競賽」優等獎則由《燃煤的餘燼》和《夢想中繼站》獲得，

one after another, are diagnosed with leukaemia and rare diseases.

documented the democratic process Taiwan has gone through in the

前者以詩意交織出的絕美運鏡，讓觀眾感受到秘魯底層社會的艱困，後

They believe that their illness is a result of occupational hazard and their

past three decades, starting not long before the martial law was lifted.

者呈現伊朗偷渡客到西方世界追夢、卻被困在希臘動彈不得的煎熬。《國

fight against the corporation has lasted for seven years. The jury praised

All team members attended the ceremony, and its representative

考大作戰》則以剛果學生為通過考試取得文憑而費盡心思的社會現象反

"The film mournfully but skillfully reveals the hidden unjustness and

WANG Chih-Chang expresses their gratitude to Professor Ray JIING at

思教育體制，獲評審團特別提及獎。

insincerity of one of the world biggest companies with fierce anger."

Tainan National University of the Arts for his support for digitalisation

Director HONG Li-gyeong recalled on stage that she had once doubted

and maintenance of Green Team’s large amount of footage. Moreover,

「亞洲視野競賽」為本屆新增設的競賽項目，鼓勵有獨立精神和作者觀

if this film could really help the victims, and they told her that as long as

he thanked those who had once marched in the streets, risking their

點、兼具文化差異性和普世性的亞洲紀錄片，由《玉門》奪得首獎，本

more people could get to hear their stories, it would bring them great

lives to pursue democracy and defend our dignity. He said, "Green Team

片記錄油礦大城玉門因在油田枯乾後人去樓空的世界，以極具創意的影

courage. Hong wished to share the honour with those labors who had

is just very lucky to be with them and to document our passion and

像語言書寫城市的蒼茫記憶，展現高度藝術價值。優等獎則由《星火》

been fighting so bravely.

ambitions in an important time." In the end, he once again thanks all the friends who have accompanied them for thirty years, offering them

與《八堂的綠色之戰》獲得，《星火》追溯 1950 年代蘭州地下雜誌《星 火》創辦的幽暗歷史，即便過了五十年，仍能為片中人物的努力所觸動，

Stop-over and Glowing Embers were both awarded Merit Prize in the

而評審委員也表示，希望透過獎項鼓勵中國獨立紀錄片工作者在嚴峻環

International Competition. The former poetically shows the hardship

境下創作的勇氣。中國獨立紀錄片的展現的視野更獲各國評審高度肯

the Peruvian underclass endure in society while the latter conveys the

定，《玉門》和《星火》除了贏得前述獎項外，更分別獲得特別獎項「華

torture the Iranian illegal migrants suffered as they were trapped in

teenagers. They honored The Lost Sea as the prize winner. Author's

人紀錄片獎」的首獎和評審團特別獎！「台灣競賽」由《公民不服從》

Greece on their smuggling journey to western Europe. National Diploma

POV Award is given to A Dream of Iron ; its poetic images that reflect

奪得首獎，該片以充滿情感張力與身體政治的方式勇敢面對警察暴力，

won the Jury Special Mention by its story of a Congolese documentary of

the development of the Korean heavy industry in the last five decades

並思考「服從」教育的問題。導演陳育青笑稱自己「終於有錢可以付給

how high school students strive to get the national diploma that would

are highly acclaimed by the Taiwanese documentary filmmakers.

律師了」，再提到政府眼中的「刁民」一定是沒有辦法才會選擇站出來，

rescue them from poverty.

The Walkers , the story of Legend Lin Dance Theatre and its artistic

encouragement and warmth.

New Generation Award winner is decided by a jury composed of eighteen

director LIN Lee-chen, proved to be the audiences' favourite, winning

希望將《公民不服從》獻給所有的「刁民」，下星期更要帶著影片到香 港放映聲援佔中。優等獎則由影像風格創新的《正面迎擊》獲得，本片

Asian Vision Competition is a new category set up this year. It is aims to

Audience Award. At the ceremony, clips of the digitally restored version

道出一群摔角男兒如何迎擊各自生命，也對「真假」提出令人玩味的思

encourage the independent spirit, author's viewpoints and to promote

of the 8mm films made by DENG Nan-guang, the pioneer Taiwanese

考。導演鍾權表示，自己關注的雖然不是龐大的社會議題，而是一群默

Asian docs that convey the different cultures as well as the universality

photographer, were shown. Moreover, vocal band SEMISCON was

默無聞、熱愛摔角的小人物，但很高興回歸到創作本質的想法能獲得評

of human nature. The Grand Prize went to Yumen while both Spark

invited to give a performance that complements the images.

審的認同，他也同樣高呼「香港加油」！

and Paldang received the Merit Prize. In addition, these two Chinese independent documentaries, Yumen and Spark , respectively won the

The jury members this year consisted of documentary filmmakers from

今年影展也增設多個特殊獎項，其中，「傑出貢獻獎」將此一榮譽頒贈

Grand Prize and Jury Prize in Chinese Documentary Award.

Taiwan and abroad; they included French director Clade LANZMANN, HATA Ayumi from Yamagata Documentary Film Festival, Professor

給記錄解嚴前後社會運動、用影像為台灣民主化進程留下珍貴見證的 「綠色小組」，綠色小組的成員全員蒞臨，代表王智章表示，謝謝南藝

Yumen filmed the abandoned city, Yumen, a ghost town which had once

CHANG Xinmin from Beijing Film Academy, renowned festival

大井迎瑞教授對綠色小組龐大的影片進行數位化和維護工程，也謝謝那

flourished due to its oil production. The filmmakers captured the sad

programmer Mark PERANSON, Carine BERNASCONI from Cinema Du

些曾經走在街頭隊伍裡、不怕犧牲生命、爭取民主與捍衛尊嚴的人們，

memories of the city in a stunningly creative visual language. Spark tells

Reel in France, Thai artist and film producer Pimpaka TOWIRA, Hot Docs

「綠色小組不過是幸運地和他們一起走過，並記錄了大時代的熱情與理

the history of an underground magazine once published in Lanzhou in

Programming Manager Sarafina DIFELICE, cultural critic LI Chanpeng

想。」最後，更感謝 30 年來始終陪伴、鼓勵、溫暖相挺的每一位朋友。

the 1950s. Five decades have passed since then, but their efforts still

, director Mayaw BIHO, director YEN Lan-chuan, Professor CHANG

「新世代觀點獎」評審團由 18 名青少年組成，選出《刪海經》作為代

move us today. The jury hoped that this award would encourage the

Hsiao-hung, director SHEN Ke-shang, director LI Zhongwang, director

表年輕世代眼光的紀錄片作品。「作者觀點獎」由南韓紀錄片《鐵夢》

Chinese independent documentary filmmakers who work in such a

LI Lishao, director HO Chao-ti, and eighteen teenagers aged between

奪得，該片以詩意影像反思南韓半世紀工業發展史，獲台灣紀錄片工作

harsh and restricted environment.

fifteen and eighteen.

者高度肯定；《行者》記錄「無垢舞蹈劇場」及總監林麗珍的創作歷程， 深受觀眾喜愛，榮獲「觀眾票選獎」。頒獎典禮上，也放映台灣紀實攝

In Taiwanese Competition, Civil Disobedience won the Grand Prize.

影大師鄧南光先生早期拍攝的 8 釐米電影輯數位修復版本片段，並邀請

It shows how the civilians, through their emotions and physical

神秘失控人聲樂團搭配影像作跨界藝術表演。本屆評審團由來自國際與

participation in politics, stand up to the brutal abuse from the police

台灣的專業紀錄片工作者所組成，包括法國導演克勞德．朗茲曼、日本

and start to think about the purpose of "being obedient." Director CHEN

山形影展代表 HATA Ayumi、北京電影學院張獻民教授、國際知名策展

Yu-chin breathed a sigh of relief that finally she was able to pay the

人 Mark PERANSON、法國真實電影節代表 Carine BERNASCONI、泰國

lawyer. Secondly she mentioned that the "troublemakers" in the eyes

當代藝術家及專業製片 Pimpaka TOWIRA、加拿大 Hot Docs 影展節目統

of the officials were those who had no choice but to take to the street.

籌 Sarafina DIFELICE、李展鵬老師、馬躍．比吼導演、顏蘭權導演、張

She wished to dedicate her film to all the "troublemakers" and she will

小虹老師、沈可尚導演、李中旺導演、李立劭導演、賀照緹導演，及 18

bring the film to Hong Kong in support of the Occupy Central movement.

名 15 至 19 歲的青少年評審團。

Told in an innovative visual style, Face to Face describes how a group of amature wrestlers coped with their lives, and questions what is true

台灣競賽首獎《公民不服從》導演陳育春（左） 國際競賽首獎《貪欲帝國》導演洪里烱 （右）

全體導演及評審於頒獎典禮合影

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

傑出貢獻獎 : 綠色小組

焦點 FEATURE

亞洲紀錄片的今天：財務自由 ? 創作自由 ?

—— 紀錄片工作者的兩難

Asian Docs Today: Money or Autonomy? —— Filmmakers' Dilemma By 何思瑩 Mimi HER Translated by 洪健倫 Allen Hong

亞洲紀錄片因為複雜的歷史發展背景、多元的文化，在影像的呈現上也 就更為豐富迷人，生猛有力，然而相較歐美發展良久的製作環境，發展

左起 -《稻米之歌》製片 Pimpaka TOWIRA、《祭之馬》國際發行藤岡朝子

Pimpaka TOWIRA

藤岡朝子

中的亞洲紀錄片多半處於向外尋求資源，與兼顧國際和本土市場的兩 難。自本屆起，「台灣國際紀錄片影展」特別增設「亞洲視野競賽」， 希望鼓勵有獨立精神和作者觀點的亞洲紀錄片，影展也在 10 月 16 日下 午舉辦「亞洲紀錄片的今天─國際 vs. 本土」講座，由陳斌全擔任主持 人，邀請台灣公共電視委製編審王派彰、中國獨立電影研究學者張獻民、 《祭之馬》國際發行及山形影展代表藤岡朝子、泰國紀錄片《稻米之歌》 製片 Pimpaka TOWIRA 等四位亞洲紀錄片資深工作者與談。 論壇開始，四位與談人先分享各自國內的紀錄片發展現狀。以日本來說， 藤岡朝子認為相當好，雖然紀錄片導演也需身兼他職，但整體產業是持 續在成長的。泰國自五年前才開始有紀錄片在電影院上映，Pimpaka 認 為，未來走入電視體制的機會較高，但因近來政治動盪，資金來源有限， 製作上亟需仰賴國際補助，而她的策略也包括先將紀錄片送去參加影 展，得到好的名次再回國發行。而台灣雖然自縣市政府、公共電視到國 家文化部都有不少補助方案，仍面臨資金不足的困境，且大多缺乏映演 的規劃，許多影片在參加影展後就不再有放映的機會。 主持人陳斌全接著提問，為什麼當本國無法支持亞洲紀錄片工作者時， 其向外拓展的市場，或是資源的提供都集中在歐美，而非亞洲他國？王 派彰認為，一是歐美的紀錄片資金都來自於電視，而電視台有很大的紀 錄片量需求，因此會積極向亞非招手，不過傾向資助能凸顯當地社會人 文的紀錄片，而非原創性的作品；藤岡朝子和 Pimpaka 則提及紀錄片的 發展中心一直是在歐美，因此爭取與大型影展的合作有助於提高曝光率

Chinese indie-film scholar ZHANG Xianmin, international distributor of

和發行機會。然而，這樣的依賴也使得亞洲紀錄片在形式、題材的選擇

The Horses of Fukushima FUJIOKA Asako, and producer of The Song of

上經常需要妥協，Pimpaka 提到過去曾為了申請兩萬歐元的補助，將影

Rice Pimpaka TOWIRA.

demand often make Asian filmmakers face a delimma on the choice

片改得較具實驗性，而王派彰也舉例，有部台灣紀錄片以「情侶存錢拍 婚紗」為主題獲得歐洲資助，後來導演希望更強調這對情侶的愛情，資

The four attendees respectively shared their observation on the

金就撤出了。

development of the documentary in their countries. Fujioka thought although filmmakers have to freelance to make their ends meet, the

中國的情形相較於其他亞洲國家顯得極為特殊，張獻民老師表示，一支

enviroment is growing better as a whole. In Thailand, it was not untill

一小時的電視紀錄片最高的預算曾高達 500 萬人民幣，而每年至少有 20

2009 that theaters started to screen documentaries. Pimpaka thought

部紀錄片在院線上映，與自然環境相關或中國自產的人文歷史類紀錄片

TV broadcasters would provide more opportunities. Yet, due to that

更受觀眾喜愛，例如 2012 年法國的《海洋》（Océans）便創下 2500 萬

the politics is still in turmoil, and the source of fund is still limited,

人民幣票房。然而，雖然看似蓬勃，仍只有少數龐大錢權支撐的媒體集

filmmakers still have to count heavily on international resources. Her

團能達到這樣的規模，在相對小團隊、小規模的獨立紀錄片製作領域則

strategy of distributing includes submitting documentaries to film

相對複雜，而不少知名的獨立紀錄片導演雖獲歐美電視台資助，也同樣

festivals and distribute them in Thailand after they won an award. In

面臨創作自主與出資者間的拉扯。

Taiwan, although local goverments and PTS would provide funds for production, filmmakers still have to deal with the shortage of fund. Also,

Due to its complex historical context and its wildly varied culture,

左起 - 導演王斌全、策展人王派彰、學者張獻民

they lack opportunity and plan to screen their films.

of their target audience. Pimpaka mentioned she once made a project more experimental in order to get a 20,000 euro investiment. Wang also mentioned there was a Taiwanese documentary won a European fund because their project was about the industy of wedding photography in Taiwan. However, the investment dropped out after the filmmaker tried to emphasize more on the love story of the couple.

Comparing to other regions, the situation of the industry in China is very distinctive. Chan Xianmin pointed out that once the budget of an onehour documentary in China would be raised up to 5 million RMB. Also, there would be 20 titles screened in theater per year. Stories related to natural environment or Chinese history and culture are the most popular subjects. For example, French documentary Oceans made a 25-million-RMB boxoffice in 2012. However, only those production

Asian documetaries present a fastinating and powerful view. However, comparing to Europe's long history in developing documentary industry,

The host Chen later proposed another question. He wondered why do

the underdevelope Asian docs are not so famillar with out-sourcing

Asian filmmakers seek resources in European market rather than those

their project and finding balance between domestic and foreign

in Asia. Wang thought they do so because funds in European makerts

markets. From this year on, TIDF set up "Asian Vision Competition"

come from the broadcaster —— platforms which has huge demands

to encourage the Asian docs that possess independent spirit and a

for documentaries —— so they would seek potential filmmakers in

strong view. To emphasize this attempt, the festival ran a talk on the

Asia and Africa. Nevertheless, instead of the original autuerist work

topic "Asian Documentary Today" on Oct. 16 afternoon. It was hosted by

subjects, European broadcasters would more interested in projects

CHEN Chuan-bin. The attendees were the PTS editor WANG Pai-Zhang,

which would foregroud the the local culture in their narrative. Such

《稻米之歌》

companies supported by huge corporation would afford such high production standard. In a relatively small unit, the situation is more complicated. To some renown indie filmmakers who recieve support form European broadcasters, they would also has to confront the delimma of the choice between their autonomy as an artist and the assistance from the investors.

《祭之馬》

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 展覽 _ Exhibition

日期 | OCT. 1 — OCT. 31 地點 | @ Lomography 台北店 台北市敦化南路一段 187 巷 35 號 1 樓 No.35.Ln.187,Sec.1, Dunhua S. Rd., Da`an Dist., Taipei City 106

回顧昔日時光 — 時光台灣影像展 Reel Taiwan Exhibition

1949 年國民政府來台，讓台灣在各個層面有了一次巨大的變動；1950 年韓戰爆發，美國同時向世界伸出援手，自 1951 至 1965 年，每年借 貸給台灣一億美元，推行農改與各項民生建設，並共同成立「農業復興委員會」，展開了這段影響台灣甚鉅的「美援年代」。〈回顧昔日 時光 ── 時光台灣影像展〉藉由一張張蘊含歷史與時光溫度的照片，搭配第九屆台灣國際紀錄片影展 ─ 時光台灣 1951-1965 單元影片，透 過現代眼光回首過往這段時期如何影響我們的食衣住行與生活文化。

日日談 Daily Talk

The KMT government had brought dramatic changes upon Taiwan after arriving in 1949. As the Korean War broke out in 1950, the US government provided developing countries with aids. From 1951-1965, the US government offered the KMT government an annual loan of 100 million US dollars, used to promote agricultural reform and other policies. The Reel Taiwan Exhibition showcases a series of photographs taken from that period, revealing how the past had shaped the lives of the present.

時間 | 14 : 00

日日談 論壇 4 _ Forum 4

日期 | OCT. 19 (SUN)

台灣紀錄片進行式

與談人 | 2014 台灣國際紀錄片影展台灣競賽導演：黃明川、柯金源、黃庭輔、洪淳修、陳芯宜、Raye HUANG Ming-chuan, KE Chin-yuan, HUANG Ting-fu, HUNG Chun-hsiu, and Singing CHEN, and Raye

Taiwanese Documentary - Current Features and Prospects

瓦靠大戲院 Doc Outdoors

地點 | 文化部華山小客廳 @ The Foyer

filmmakers from the Taiwanese Competition of the 9th TIDF

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

我的狐狸電影夢

Trucker and the Fox

日期 | OCT .19 (SUN) 時間 | 19 : 30 地點 | 華山大草原 @ The Grand Green

得獎影片加映 Screening of Award Winning Films OCT.19 SUN

所有得獎影片將於 10.19 (SUN) 在台北新光影城與府中 15 加場放映 All award-winning films will be screened on Oct. 19 (SUN)

地點 | 新光一廳 @ Shin Kong Cineplex 1

地點 | 新光二廳 @ Shin Kong Cineplex 2

地點 | 府中 15 @ Fuzhong 15

10 : 30 三里塚．第二堡壘的人們 Sanrizuka – Peasants of the Second Fortress 143 min | 護 PG

11 : 00 八堂的綠色之戰 Paldang 89 min | 護 PG

10 : 00 正面迎擊 Face to Face 110min | 護 PG

13 : 30 鐵夢 A Dream of Iron 100 min | 普 G

13 : 10 貪欲帝國 The Empire of Shame 92 min | 普 G

18 : 00 公民不服從 Civil Disobedience 51 min | 護 PG

15 : 50 燃煤的餘燼 Glowing Embers 85 min | 普 G

15 : 20 星火 Spark 100 min | 普 G

19 : 30 刪海經 The Lost Sea 68 min | 護 PG

18 : 00 夢想中繼站 Stop-over 100 min | 普 G

17 : 40 玉門 Yumen 65 min | 普 G

20 : 30 國考大作戰 National Diploma 92 min | 普 G

19 : 30 行者 The Walkers 147 min | 護 PG 《貪欲帝國》

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