REEL TO REEL 影像溯源 2020｜Reel to Reel Film Heritage 2020

流動影像技術發明至今超過 120 年，其收藏與保存的工作最早於上世紀三十年代於歐美 展開，各地資料館羣體相信 1910 年代或以前製作的影片九成已經散佚，而 1920 年代的 作品則剩下兩成，總括 1950 年前製作的電影現在只有一半能夠流傳1。這個令人惋惜的 數字還不包括大部份紀錄片、短片、實驗影像和其他獨立製作。由於相關的文獻不多， 百多年來完全失傳的影片數量難以估算。而幸運得以被博物館、電影資料館或個人搜集 收藏及修復的作品，有些亦因為物料狀態、貯藏要求等原因，鮮有機會公開展示。 近年隨着複製和修復視聽物料的科技急速發展，各地資料館得以投放資源修復損壞了的 影片和把有價值的電影藏品轉化為數碼媒體，甚至在網上平台公開。另外，商業形式的 數碼修復亦蔚然成風，令觀眾有機會觀賞很多重製的經典電影。 有見及此，「REEL TO REEL 影像溯源」希望由電影和地方的歷史、技術發展、美學和文 化研究的角度出發，展示世界各地失而復得的珍貴影片，對照電影歷史發展，填補香 港、華語及鄰近地區的遺缺，並以此闡釋博物館（或資料館）和商業修復的分別，以及 菲林和數碼作為創作媒介和影像載體的不同特性，提倡兩者均應受到重視，令觀眾在觀 賞同時亦能了解它們所承載的意義和故事。 影展得以舉辦，承蒙各電影收藏機構及相關人士借出珍貴影片，各嘉賓及講者百忙中出 席講座及映後談，在此致謝。 前言 INTRODUCTION

Earliest attempts to collect and preserve motion pictures, a technology invented over 120 years ago, only began in the 1930s in Europe and the United States of America. Archival institutions around the world believe that 90 per cent of the films produced in or before the 1910s have been lost and only 20 per cent of the films made in the 1920s have survived; overall only half of the films made before the 1950s are still circulating today¹. This lamentable rate even excludes most documentaries, shorts, experimental films and other independent productions. Insufficient documentation makes it hard to estimate the actual number of films lost over the last 100 years or so. Those which are fortunate enough to find their permanent home at museums, film archives and private collections and be restored are seldom publicly presented due to their condition and conservation requirements. Recent years’ technological advances in duplication and restoration of audio-visual works has allowed global archiving organisations to put their efforts and resources into restoring decayed film stocks, digitising film treasures and launching online public access. Moreover, the burgeoning of commercial digital restoration of films also gives contemporary audiences an opportunity to experience a great many of the restored classics. This is where ‘Reel to Reel Film Heritage’ comes in, with an aim to showcase treasured moving images around the world that were once lost. Focusing on the history, technological development, aesthetics and cultural studies of film and of place, we compare narratives of film histories especially for Hong Kong, Chinese-speaking and adjoining areas, also uncover missing pieces, illustrating the differences between museum (or archival) restoration and its commercial counterpart, as well as the distinct properties of celluloid and digital formats as creative media and carriers of moving images. We believe giving importance to both would promote an understanding among the audience of the significance and stories these formats Itcarry.isthe help from organisations and people who are supplying the precious film copies that has made this programme possible. To them and all the guests and speakers who are giving talks in the programme, thank you.

1 Janna Jones, The Past is a Moving Picture (Gainesville: University Press of Florida, 2012), 25. 3

香港電影史不簡單，和它的政治及文化歷史同樣複雜豐盛，作品、 史事、詮釋隨着時日不斷產生歧義和爭議，如果懂得容納這些歧 義和爭議，更能夠客觀理解香港電影歷史千頭萬緒、活躍無邊的面 貌，更能夠拓展觀看、保存、研究的範圍及質與量。因此，探討 和維護香港電影歷史（包括影像資料等），除了細看香港電影公司 和電影人製作的「國粵語片」和「港產片」外，建立兼容中港台星 馬等製作、資金和發行相關地區的電影歷史網絡，縱向地貫穿不同 時代的類型潮流風格，橫向並列國語台語粵語等不同地域文化的體 系，以跨越時空語言文化綿延不絕的視野，作為香港電影史發生的 大舞台。各種元素互為因果，我們每樣觀察，接駁組合拆解，掌握 它們複雜跨界的組織和交流，從而理解和感受香港電影和鄰近地區 電影歷史的生命。 再現 ·重構  —— 中港新台珍藏與修復 此次影展「中港新台珍藏與修復」部份，如上所述以影史探索鋪 寫為宗旨，期望不斷設立廣闊獨立的視點，在浩瀚影史和電影 機構收藏裏，發掘和引介別人的發掘。因此在符合專題的公認經 典之外，那些曾被遺忘忽視或失而復得的作品，同樣（很多時 候更加）值得公諸於世。它們有時填補空白，有時是改寫電影史 的契機。此次選片除《八千里路雲和月》（ 1947 ）和「南洋三部 曲」比較為人熟悉，其他影片都是不知所蹤或束之高閣數十載， 向來未獲評論研究多點顧及，縱使近年再次面世，仍有個別如 《深閨疑雲》和《好夫妻》（同為 1948 ）遭輕描淡寫的對待，影 片成就和所反映的影史細節未得以闓闡。另外，作品有否修復 不是我們選擇的決定因素。現今數碼修復電影大為流行， DCP 幾 乎成為唯一放映方法。我們嘗試修正潮流，希望延續各種影像載

體和放映格式的壽命，譬如編排影像物料未經數碼修復的電影， 使菲林攝影藝術、沖印技藝及放映器材配套等都不致荒廢消失 （電影修復羣體同樣在發展傳統修復技術的「可持續性」）。雖 然，此專題選片恰好都是 DCP 或數碼檔案，但其中《好夫妻》、 《疏離》（ 1966 ）、《不敢跟你講》（ 1969 ）、《跑道終點》 （1970）並沒有數碼修復，不但因為拷貝質素維持得不俗，便不必 為新而新，不留一絲歲月痕跡，何況影片本身便是意義非凡的再發 現，歲月痕跡不過是一份證據。 從這些理念出發，當會理解二戰後上海經典《八千里路雲和月》種 種不應被《一江春水向東流》（1947）遮掩的成就中，除時代氣魄 和新寫實主義手法外，尚有和1949年前後方興未艾的香港左派電影 的聯繫。《八》片、《深閨疑雲》及《好夫妻》成熟現代的人生及 兩性問答，雖不能在光藝公司的「南洋三部曲」中找到完全同等的 對話，而於在地羣體歷史經驗和荷里活風格轉化相融的層面，兩者 卻構成各顯特色的對照。秦劍、陳文作品的古典荷里活氛圍沒有前 者濃厚凝練，另具機巧拼湊的格式，發揚粵語片說教精神的同時， 奮力成長自立，展示冷戰時代的青春性感。《疏離》、《不敢跟你 講》、《跑道終點》等電影在台灣出現的時候，香港的文藝青年在拍 前衛或實驗意念的短片，楚原、龍剛、黃堯等電影工業的中青年導 演也已在作品中加入青年人的苦悶、社會罪案甚至政治問題等新元 素，並仿拍西片的新派影像風格，但台灣藝文青年拍電影如歐陸藝 術電影般混合寫實主義和隱晦抽象手法，而且是劇情長片的篇幅， 則推動我們細緻地考量、比較兩地的政治社會、創作環境及創作者 的知識情志。《危險的青春》（1969）代表的台語片，一度在台灣國 語片主流以外大量製作，題材和風格多樣多變，混糅趨時，我們應該 認真關注，了解它的特色和歷史之餘，或許可藉其生態內涵及與本土 文化的互動，幫助我們解析、推演香港粵語電影的歷史。 2018 年 1 月，資深電影研究者黃愛玲小姐逝世，今年為兩周年。 黃小姐在電影研究的事功和遺澤毋庸贅述，此次大部份選片近幾 年才再現，估計黃小姐以前未曾看過，十分可惜。既然我們的理 念是發掘罕見和未見的電影，書寫開放、可不斷增補、跨越界 線、富生命力的電影史，此個以前瞻及前進形式刻劃電影史的專 題，除與當下的觀眾和研究者分享以外，亦是一次紀念黃愛玲小 姐的儀式。 5

REDISCOVER AND RESTRUCTURE: LOST GEMS AND RESTORED CLASSICS FROM CHINA, HONG KONG, SINGAPORE AND TAIWAN

Hong Kong’s film history is neither simple nor dull. It is as complicated and rich as the city’s political and cultural history. The works, historical events and interpretations produce new meanings and debates over time. Being able to incorporate the discourse allows us to gain a more subjective understanding of Hong Kong film history’s numerous facets, which will expand the quality and quantity of our appreciation, preservation and research. Hence, in order to explore and protect Hong Kong film history (and its related materials), we must not be limited to examining Cantonese and Mandarin films that were made in Hong Kong, but include the production, budgetary and distribution information from China, Hong Kong, Taiwan, Singapore and Malaysia.

For this section, we expect to establish a wide and independent perspective that will unearth (or help unearth) films in our vast film history and archives. Hence, besides well-known classics, there are also forgotten or previously lost gems that are worthy of being introduced to the public. They fill in the blanks that might rewrite our known film history. Aside from the relatively known Eight Thousand Li of Cloud and Moon (1947) and the ‘Nanyang Trilogy’, the other films have been lost or shelved for decades without much attention from critics and scholars. After being re-released in recent years, Suspect from Husband and A Good Couple (both 1948) were treated with little consideration, as their achievement and place in film history did not inspire any detailed exposition. Besides, whether or not a film has been restored is not a factor in its selection. Since digital restoration is all the rage these days, DCP has almost become the only screening format. We are trying to rectify the trend by extending the life of different media and screening formats, such as programming films whose materials have not been digitally restored. By doing so, we hope that film cinematography, processing and projection will not cease to exist (while film restoration entities are developing technology that will

The various genres, styles and trends across generations, in addition to the different regional cultures and languages, all come together in this boundless scope that sets the stage for Hong Kong film history. All these elements have a causal relationship. When we examine them, seeing how they work as cogs and gears of a larger structure, we will gain a greater understanding and appreciation of Hong Kong Cinema and film history in adjoining areas.

advance the medium’s sustainability). Although films in this section are in DCP or other digital formats, A Good Couple, Alienation (1966), I Didn’t Dare to Tell You (1969), and The End of the Track (1970) have not been digitally restored. However, these screening copies exhibit decent quality, so there is no point to make it look new for the sake of doing so and leave no trace of time passed. After all, the films themselves are already incredible rediscoveries. Based on these ideologies, one would understand why the postwar Shanghai classic Eight Thousand Li of Cloud and Moon should not be overshadowed by The Spring River Flows East (1947). Besides its spirit of the times and neorealist approach, the film also has strong connections with Hong Kong’s Chinese-leftist Cinema. Even though the mature discussions on life and gender roles in Eight, Suspect from Husband and A Good Couple might not form an equal dialogue with Kong Ngee Film Company’s ‘Nanyang Trilogy’, their integration of regional and historical experience with the adaptation of Hollywood styles constitutes a distinctive contrast. Classic Hollywood aesthetics are not as deeply embedded in Chun Kim and Chan Man’s films as they are in the aforementioned earlier Chinese films. The latter’s clever mishmash format upholds Cantonese films’ didactic spirit while demonstrating the youth and sexiness of the Cold War era. By the time Taiwanese films like Alienation, I Didn’t Dare to Tell You, and The End of the Track were released, Hong Kong’s artsy youths were making avant-garde or experimental short films. Meanwhile, industry pros like Chor Yuen, Patrick Lung Kong, and Wong Yiu also introduced the angst of youth, crimes, and political problems in their films while imitating the then-new style from the West. But the young Taiwanese filmmakers made films like the European art house directors with a mix of realism and veiled abstraction. Their feature-length films require us to carefully consider and compare the creative environment and filmmakers’ ideologies from these two locations. Dangerous Youth (1969) represents Taiwanese-language films that were mass-produced outside of the mainstream Mandarin Cinema. Their themes and styles varied as trends evolved. Besides paying close attention to their characteristics and history, we could learn about the interaction between its ecology and local culture, which might help us explain and analyse Hong Kong Cantonese film history.

This January marks the second anniversary of seasoned film researcher Wong Ain-ling’s passing. The significance of Ms. Wong’s research on film history is indisputable. As many of the films selected here were only rediscovered in recent years, it is unlikely that Ms. Wong would have seen them. Since our intention is to discover rare and unseen films, and ceaselessly writing more additional chapters for the lively and boundless film history, this program is not only a forward-looking take on film history for movie-goers and researchers, but also a tribute to Ms. Wong Ain-ling.

7

巨變前的婚姻與家國 MARRIAGE AND COUNTRY BEFORE RADICAL CHANGES 八年抗戰慘勝，中國電影接着的創作復員和藝術精進，令人讚嘆。戰爭經歷和戰後亂象激 發題材，倫理通俗劇時空拉闊，戲劇跌宕切身，引進紀錄或仿紀實影像，產生多樣嘗試的 寫實主義美學，雖具政治傾向，仍留存一份曖昧。又精於吸納歐美作法，壯觀籠罩的哥德 美學，黑色電影的陰暗懸疑，演繹紊亂心象，在曲折中找尋光明。上海和後方戲劇人才加 入影壇，與荷里活浪漫喜劇撞出在地處境，調侃現代婚姻，月旦都市世情，對白、視覺和 意蘊巧妙不盡。

The victory of the eight-year Second Sino-Japanese War came at great cost. But the recovery and advancement of Chinese Cinema was a marvel. The adversity and aftermath of the war inspired many filmmakers to open up their usual themes like family melodrama, while the introduction of documentary(-esque) filmmaking gave rise to different forms of realist aesthetics. They were political yet deliberately ambiguous. Besides they were keen to adapt the gothic aesthetics and film noir elements from their American and European peers, making thrillers with a twisted blend of light and darkness. With the Shanghainese and resistance drama players entered the film industry, their interpretation of Hollywood romantic comedy created a unique local flavour, satirising modern marriage and city life with excellent dialogue, imagery and substance.

Winning the war brings joy as well as sudden changes. Pain and relief are just another battle at home. The various internal monologues by different characters give us a peek into the hidden truths of the heart, and form the foundation for this panorama of human drama. With the Western-style mansion as the backdrop, a man suffering from posttraumatic stress wanders in this alienating space, transforming Hollywood suspense into the frightful angst of a man whose country is in tatters.

The internal monologue in Spring in a Small Town (1948) is hailed for its ingenuity, but this film proves that such a masterstroke is not a singular happening. In fact, the styles of many Chinese films of the same period are neither dull nor outdated. The use of inner dialogue and multiple perspectives is a sign of learning from Hollywood while developing their own innovations. After the war is won, a husband returns to Beijing from Chongqing. He suspects that his wife, whom he hasn’t seen in years, is having an affair with the male tenant who lived in their house during his absence. The restless husband often takes his frustration out on his wife by hurling insults. When the tenant’s love letter arrive, the couple must decide whether they should separate once again. The film’s Chinese title is identical to the Chinese title of Alfred Hitchcock’s Suspicion (1941). The central emotion is changed to the anxiety of a husband away from home. The truth is that both people on the front line and back home have their own stories to tell.

深閨疑雲 SUSPECT FROM HUSBAND (A.K.A. SUSPICION) 中國 China｜1948｜黑白 B&W｜105 分鐘 min｜DCP｜國語 Mandarin｜ 中文字幕 Chi subtitles 編導 Dir & Scr：徐昌霖 Xu Changlin 攝影 Cinematographer：高洪濤 Gao Hongtao 演員 Cast：謝添 Xie Tian、陳燕燕 Chen Yanyan、史弘 Shi Hong 中國電影資料館館藏，2016 年於陝西西影數碼製作修復。 China Film Archive Collection, restored by Shaanxi Western Movie Group in 2016. 徐昌霖 Xu Changlin（1916–2001） 抗戰時在重慶編寫話劇和影劇評論，戰後編導《十三號凶宅》（ 1948 ，白光主演）、《群魔》 （1949）、《方珍珠》（1952）等影片，注重場景和氣氛，烘托濃烈而壓抑的心理和衝突。 During the war, Xu Changlin was writing stage plays and criticism in Chongqing. In the postwar era, he wrote and directed Sinister House No.13 (1948, starring Bai Guang), The Devils (1949) and Fang Zhenzhu (1952), among others. He pays great attention to scenes and atmosphere, building vigorous yet repressed psychological state and conflict. 《小城之春》（1948）的內心獨白向被推崇為匠心獨運，本片證明實非孤例，同期 許多中國電影的手法並不枯燥落伍，包括內心獨白和多元視角，借鏡荷里活而自創 新猷。抗戰勝利，丈夫從重慶回到北平的家，懷疑分離多年的妻子和搬走的男房客 有染，心緒不安，常侮辱妻子發洩。房客的情信來了，夫妻要決定是否再分離。片 名乃希治閣名作《Suspicion》（1941）的中文譯名，換作戰時離家男人的焦慮，其 實前後方各有故事，勝利帶來歡樂也帶來突變，劇痛和撫平是又一場戰爭。幾個人 物都做內心獨白，發掘紛雜的人心隱象，多觀點組構人倫戲劇全景。主景西式大宅 精細雕縷，繁華寂靜的空間，戰爭後遺症患者在其中搖幌碰撞，荷里活心理懸疑風 格轉演為家國待興心靈紊亂無着的意象。

9

Post-screening talk by Lau Yam (In Cantonese)

06.02.2020（四 Thu）19:30 FA *設映後談，講者劉嶔，粵語主講

07.02.2020（五 Fri）19:30 FA *設映後談，講者劉嶔，粵語主講

Post-screening talk by Lau Yam (In Cantonese)

八千里路雲和月 EIGHT THOUSAND LI OF CLOUD AND MOON 中國 China｜1947｜黑白 B&W｜126 分鐘 min｜DCP｜國語 Mandarin｜ 中文字幕 Chi subtitles 編導 Dir & Scr：史東山 Shi Dongshan 攝影 Cinematographer：韓仲良 Han Zhongliang 演員 Cast：白楊 Bai Yang、陶金 Tao Jin、高正 Gao Zheng 中國電影資料館館藏，2011年於鴻視線科技（北京）修復。 China Film Archive Collection, restored by REDSION Technology (Beijing) in 2011. 史東山 Shi Dongshan（1902－1955） 創作始於中國默片年代的著名導演，早年追求電影的藝術美感，三十年代加強寫實和批評。戰後 《八千里路雲和月》、《新閨怨》（1948）等作品風格渾厚，注重結構，是時代經典。1949 年後適 應新環境，拍攝新題材，但不久因不願被牽進批判文藝理論家胡風的運動而自殺。 Shi began his career as director in China’s silent era, when he put much emphasis on the aesthetic quality of his films. In the 1930s, he stressed on realism and social commentary. His postwar releases, such as Eight Thousand Li of Cloud and Moon and Sorrows of a Bride (1948), are unhackneyed, rigorous in style and structurally sound. After 1949, he adapted to the new environment and turned his attention to new themes. However, he committed suicide not long after being targeted by a Maoist movement against a literal scholar. 戰後史詩式劇情片巨構，敘述 1937 年抗日戰爭全面爆發至勝利初期，約十年間中國 社會和青年人的劫難、奮鬥及面對前景的茫然。一雙情侶參與救亡演劇隊，宣揚抗 戰，奔波於前線與後方。戰後回到上海，發現「接受」淪為「劫收」，官軍商沆瀣 一氣，他們不屈抗爭，揭露罪惡，卻難免心力交瘁。大師史東山風格莊重，上半部 拍攝演劇團，仿若新寫實主義方法，為真實的文藝界抗戰事跡留下記憶。後半部轉 為嚴厲的社會批判，矛盾和壓力積聚，氣氛越趨悲涼。左翼意識明顯，但仍注重個 人的心靈轉變和良心判斷，為時代打上問號，設立悲哀而開放的結局。當年與同是 白楊和陶金主演的《一江春水向東流》（1947）齊名，此片歷史圖像或許更開闊， 格調更為冷峻典雅。 This epic war drama begins at the start of the Second Sino-Japanese War in 1937 and concludes at the early stage of the postwar era. In a decade of turmoil and struggle for China, young people must overcome the agony of an uncertain future as a young couple joins a resistance acting troupe in support of the war effort. Returning to Shanghai after the war, they discover the sobering reality of collusion between the government, the military and the bourgeoisie. Undaunted by injustice, they persist in their pursuit to expose these crimes, even though their righteousness will cost them dearly. Master filmmaker Shi Dongshan’s style is brooding and distinctive. The first half about the acting troupe is similar to the approach of neorealism, as the real-life war effort by the artistic community is commemorated here. The second half turns into a solemn social critique at a time when conflict and pressure mount in an increasingly bleak environment. Despite its obvious leftist ideology, the heartbreaking yet open ending is a sign of the filmmaker’s respect for each individual’s conscientious judgment. While sharing leading actors Bai Yang and Tao Jin with The Spring River Flows East (1947), another big hit of that year, this film features a broad historical perspective and maintains a more elegant style.

09.02.2020（日 Sun）19:30 FA *設映後談，講者馮嘉琪，粵語主講 Post-screening talk by Kiki Fung (In Cantonese) 馮嘉琪為現任香港國際電影節節目策劃，曾任澳洲布理斯本國際電影節及布理斯本亞太電影節總 節目策劃、亞太電影大獎顧問及提名委員會委員。 Kiki Fung is the Programmer at Hong Kong International Film Festival, former Head Programmer for Brisbane International Film Festival and Brisbane Asia Pacific Film Festival. 11

好夫妻 A GOOD COUPLE 中國 China｜1948｜黑白 B&W｜103 分鐘 min｜DCP｜國語 Mandarin｜ 中文字幕 Chi subtitles 編導 Dir & Scr：洪謨 Hong Mo 攝影 Cinematographer：許琦 Xu Qi 演員 Cast：沈敏 Shen Min、馮喆 Feng Zhe、沈浩 Shen Hao 中國電影資料館館藏 China Film Archive Collection 洪謨 Hong Mo（1913－2014） 抗戰時期成為知名話劇編導。戰後涉足電影，為李萍倩導演的《裙帶風》（ 1947）、方沛霖導演的 《花外流鶯》（ 1948 ）編劇，文華影業公司特邀編導《好夫妻》，均貫通諷刺話劇和荷里活時尚 類型。 Hong Mo became a famous theatre writer-director during the war and started to write for films in the postwar era, including Li Pingqian’s Hang on to Your Relatives (1947) and Fan Peilin’s Orioles Banished from the Flowers (1948). Wenhua Film Company commissioned him to write and direct A Good Couple, which encompassed genres like satire and contemporary Hollywood Cinema. 樸素的片名，幾乎不見經傳，原來是部精采跳脫的時裝愛情喜劇。女會計能幹貌美， 婚後家用不菲家務繁瑣，和丈夫都感覺不及單身時有趣，鬧得勢如水火。太太憤而搬 進女子宿舍，丈夫跑去「箍煲」，婚姻竟轉入奇妙超然的狀態。劇情簡明，氣氛浪 漫爽快，言情和幽默平衡互補。片中上海中產生活中西兼備，人人享受都市工作和消 遣，對婚姻都有看法，敢於抒發，但不逼人就範，令人發噱，意蘊卻悠長。男女除了 婚姻，還有婚外交際，女會計一番 romance 唯上論，從自身實際經驗修訂婚姻觀，聽 來弔詭前衛，難道真不可行？後來的華語電影遺失這份大膽而雋永的風格，厲害之處 不讓同是文華公司出品、張愛玲編劇的《太太萬歲》（1947）專美。

The name of this film cannot be any more plain, yet it is actually an exhilarating romantic comedy. A beautiful and talented accountant has not adapted well to the domestic life after marriage. Both she and her husband feel that married life is nowhere near as interesting as being single. Their fights lead her to move to a women’s dormitory. Then when her husband tries to mend fences with her, their marriage enters a state of wonder. Straightforward romance in a concise story finds great balance between tender and funny moments. The Shanghai middleclass lifestyle in the film combines both Chinese and Western influences—people work and enjoy a metropolitan environment while also speaking freely on their opinions on marriage without any constraints. Men and women maintain social relationships outside of their marriage. The accountant prioritises romance above all while forming her own unique concept of marriage based on personal experiences. All these elements sound very much ahead of its time, but are they really that improbable? Sadly, Chinese Cinema eventually lost this audacious and thought-provoking spirit. But this film measures up to the standards of the Eileen Chang-scripted Long Live the Missus! (1947).

新電影之前，國語以外 BEFORE NEW TAIWANESE CINEMA, BEYOND MANDARIN FILMS 原來中港台新浪潮曾有機會不等到七十年代末就發生，台灣文青六十年代中便拿起攝影 機，置身官營和主流工業外，大拍短片長片，實驗冷僻風格，挑戰黨國規範、衝擊封閉社 會的意念，歷歷在目，幾乎趕上世界新電影風潮。台語片也待發現，五十年代中至八十年 代產量逾千類型多元，作為求存的本土通俗娛樂，它攝取各方潮流，轉化創新，建立自身 體系。日本電影是其重要參考，而在冷靜展示現代資本主義普遍之惡時，又維持台語片的 庶民信念情感。 The New Wave almost did not need to wait until the late 1970s to reach China, Hong Kong and Taiwan. In the 1960s, there were already Taiwanese youth who began to shoot short films and feature films outside of the industry and government system. Their experimental and unusual style challenged the political establishment and conservative social values. They almost caught up with the blossoming film movements of the world at the time. Meanwhile, there was a massive output of Taiwanese-language films from the mid-1950s to the 1980s. Spanning many different genres, this popular local entertainment took inspiration from various trends and innovated to form its very own genre. It shows influences from Japanese Cinema, coolly depicts of capitalism’s ills while maintaining the folksy sensibilities of Taiwanese-language films.

不敢跟你講 I DIDN’T DARE TO TELL YOU 台灣 Taiwan｜1969｜黑白 B&W｜78 分鐘 min（缺本 Incomplete)｜DCP｜ 國語 Mandarin｜中、英文字幕 Chi & Eng subtitles 導演 Dir：牟敦芾 Mou Tun-Fei 編劇 Scr：后方（即黃貴蓉）Huang Gui-Rong 攝影 Cinematographer：廖繼燿 Liao Chi-Yao 演員 Cast：俞健生 Yu Jian-Sheng、陳國鈞 Chen Kuo-Chun、歸亞蕾 Grace Guei 掃瞄自現存唯一的 35 毫米拷貝，其中一本佚失。 Scanned from the sole surviving 35mm print, of which one reel went missing. 08.02.2020（六 Sat）10:30 FA *設映前簡介，講者王君琦博士，國語主講 Introduction by Dr. Wang Chun-Chi (In Mandarin) 「必須先做一個聽話的學生，然後才能談到別的呀！」片中歸亞蕾演的老師理所當 然地說，導演親飾她的藝術家男友，敲碎她戴來加強課室權威的平光眼鏡。爸爸為 兒子升學辛勞，小男生要幫爸爸還債，偷偷打工，基層苦況、貧童就學難的小故 事，飽含對社會結構和人際剝削關係的刻劃反省，和當時官方健康寫實主義電影的 樂觀逆向而行，調子冷靜灰暗。師長以尊卑甚至拳腳控制年輕人，通俗劇人情味不 足應付，要用寫實主義和新浪潮簡樸自由的美學，對抗秩序暴力——使用的武器包 括雖是配音但不造作不規律的對白，否定威權的聲音卻是呼之欲出。台灣電影抗爭 意識和藝術形式共同現代化的先鋒作，當年未獲廣泛公映，突兀的結局更可能是敏 感時代的刻印。俞健生獲 1970 年金馬獎最佳童星獎。 A father works hard for his son’s educational future, yet the young boy secretly works to pay for his father’s debt. This working class story about a child struggling to further his education is a wholehearted contemplation on social structure and relational exploitation, which is running counter to the kind of sterile and optimistic realism supported by the government. In this relatively dark tale, the teachers use hierarchy as well as physical force to control young people. It lacks the warmth of a melodrama but confronts violence with the simple and freeing aesthetics of realism and the New Wave. Even though the dialogue was dubbed, its voice against authority is forceful. This is a pioneering example of modern aesthetics and resistance ideology in Taiwanese Cinema. It was not widely released back then, and the unexpected twist at the end of the film was possibly a sign of the sensitive times. Yu Jian-Sheng won the Best Child Star at the 1970 Golden Horse Awards. 牟敦芾 Mou Tun-Fei（1941－2019） 出生於山東， 1949 年遷居台灣。國立藝專影劇科畢業後，自主籌資拍攝《不敢跟你講》和 《跑道終點》（ 1970），後加入香港邵氏公司。所執導《打蛇》（1980）、《黑太陽 731》（ 1988）、 《血戀》（1995），因暴虐內容和拍攝手法的聳動傳聞，成為聞名國際的剝削類型電影。 Born in Shandong, China, Mou Tun-Fei relocated to Taiwan in 1949. After graduating from the National School of Arts, he made I Didn’t Dare to Tell You and The End of the Track (1970) with funding from friends. He joined the Shaw Brothers (HK) Ltd. in Hong Kong in the 1970s. His directorial efforts such as Lost Souls (1980), Men Behind the Sun (1988) and Trilogy of Lust (1995) are infamous for their use of violence, which garnered the reputation of exploitation films around the world. 13

跑道終點 THE END OF THE TRACK 台灣 Taiwan｜1970｜黑白 B&W｜91 分鐘 min｜DCP｜國語 Mandarin｜ 中、英文字幕Chi & Eng subtitles 導演 Dir：牟敦芾 Mou Tun-Fei 編劇 Scr：蘇光勳 Su Guang-Shien、牟佳 Mou Chia 攝影 Cinematographer：陳忠信 Chen Chung-Hsin 演員 Cast：陳大衛 David Meyer、蔡篤元 Donald Chua、劉引商 Liou Yiin-Shang 掃瞄自 35 毫米拷貝。Scanned from 35mm print. 牟敦芾第二部長片秉持反思反叛意旨，並走進更為禁忌的情性領域。兩個中學男生 關係密切，一人突在跑步時猝死，另一人自責慚疚，常到亡友父母的攤檔幫忙，獲 得一時的情感抒解，但對死者的思念及生存的困惑，仍像是要把人吞滅。處理青少 年情誼，十分寫實坦率，主動提到同性戀，開社會偏見的玩笑。主角願意贖罪，能 夠跨越階級界線，對種種保守壓制的價值觀，也了然於心。伸縮鏡頭、定鏡、短快 剪接、內心獨白，電影實驗多樣而精練，暴風雨中推車一幕，是強烈的影像宣示。 尤重視內斂象徵，無底黑洞和宿命論調作為頭尾呼應，在影片寫實主義框架上疊印 意識流。和前作被傳佚失數十年，現在足以改寫台灣新電影的脈絡。 Mou Tun-Fei’s second feature film follows his introspective and rebellious streak while exploring the taboo subject of sexuality. Two secondary schoolboys have a close relationship. When one of them suddenly dies during a run, the other boy blames himself for it. Since then, he copes with his feelings by visiting his late friend’s parents and helping out at their noodle stall regularly. Yet his longing for his friend and confusion about life still haunt him. The film’s handling of a young friendship is realistic and straightforward, while its mention of homosexuality confronts the biases in society. The protagonist is willing to atone for his mistakes even though he has to humble himself with work that is against his middleclass values. It shows a diverse range by experimenting with zooming, freezeframe shots, quick cuts and internal monologues. The scene where the characters push a cart together in the rain signals the film’s emphasis on symbolism. The beginning and ending echo each other with unfathomable darkness and fatalistic tone, adding a stream of consciousness on the film’s realism framework. Together with the director’s first film, this work was thought to be lost for decades. Its rediscovery can rewrite the ancestry of New Taiwanese Cinema. 08.02.2020（六 Sat）12:30 FA *設映前簡介，講者王君琦博士，國語主講 Introduction by Dr. Wang Chun-Chi (In Mandarin) 牟敦芾 Mou Tun-Fei（1941－2019） 導演簡介見上頁。 See P.13 for director’s profile.

疏離 ALIENATION 台灣 Taiwan｜1966｜黑白 B&W｜7 分鐘 min｜數碼 Digital｜無聲 Silent｜ 中文插入字幕、英文字幕 Chi intertitles & Eng subtitles 編導 Dir & Scr：邱剛健 Chiu Kang-Chien 攝影 Cinematographer：馬威 Ma Wei 演員 Cast：高辛甬 Kao Hsin-Yung 掃瞄自 2018 年尋回的 16 毫米拷貝。Scanned from 16mm print found in 2018. 「失蹤」多年的台灣前衛藝文傳奇， 2018  年終於尋獲。牆上的蟲被按死，變作血 痕。男子背向鏡頭，動作令人聯想自慰。或者是車禍，男子向後仰倒。一組街頭素 人舉臂撒手如被釘十字架的硬照。全片穿插關於上帝的字幕卡。可能故作高深的西 化意象，粗簡不覊的技法，填補了邱剛健創作起源的一塊空白。延展他當時常於戲 劇詩文中表現的神、人生的宗教性、孤獨者和社會之間的張力，往後寫劇情片劇本 有所轉化，但性的特意處理依然不絕。滿是年輕創作人不甘平庸的銳氣，與世界先 進電影及藝文族群共鳴渴求認同的欲望。這前衛而自我的風格，同時佐證六十年代 台灣青年獨立電影歷史及各具本色的成果。

邱剛健 Chiu Kang-Chien（1940－2013） 出生於鼓浪嶼， 1949  年移居台灣。 1965  年合辦《劇場》季刊，極力推介西方現代戲劇電影。後 來港投身電影編劇，作品包括張徹、楚原、許鞍華、關錦鵬等導演的代表作，執導作有《唐朝綺 麗男》（1985）、《阿嬰》（1990）等，發揮前衛理念，整體以「情性」與「異色」風格著稱。 Born in Gulang Island,

A lost gem of Taiwan’s avant-garde cinema was rediscovered in 2018. A bug is crushed to death on a wall, leaving a bloodstain. A man with his back facing the camera looks like he may be masturbating. A man falls backwards—maybe it’s a car accident. A group of people raises their arms as if they are posing for crucifixion. The film is interspersed with intertitles about God. Perhaps it is a willfully abstruse imitation of western imagery made with raw techniques, but it is a missing puzzle piece in the creative origins of Chiu Kang-Chien. Religious themes, and depiction of tension between the alienated and society were popular themes in his playscripts and poetry at the time. His interests evolved later on in his dramatic films but his distinctive approach to sexuality remained. This is a film of a young and creative filmmaker who was not content to be mediocre, showing great desire to catch up with the world’s forward-thinking and artistic film community. This avant-garde and personal style is a testimony to the diverse talent of the 1960s Taiwanese independent films. Chiu Kang-Chien 1965, he Chang

migrated to Taiwan in 1949. In

started a magazine about theatre with his friends, who were strong advocates of modern theatre and cinema from the West. He became a screenwriter in Hong Kong, working with directors in the likes of

Cheh, Chor Yuen, Ann Hui and Stanley Kwan. As a director, he was known for films such as Tang Dynasty Beautiful Male (1985) and Ming Ghost (1990), which showcase his avant-garde sensibilities. His overall style is memorable for his focus on sensuality and idiosyncrasy. 08.02.2020（六 Sat）14:30 FA 同場放映《危險的青春》 Screening with Dangerous Youth 15

and

危險的青春 DANGEROUS YOUTH 台灣 Taiwan｜1969｜黑白 B&W｜95 分鐘 min｜數碼 Digital｜台語 Taiwanese｜ 中、英文字幕 Chi & Eng subtitles 導演 Dir：辛奇 Hsin Chi 編劇 Scr：辛金傳（即辛奇）Hsin Chi、張宏基 Chang Hung-Chi 攝影 Cinematographer：廖慶松 Liao Ching-Sung 演員 Cast：石英 Shih Ying、鄭小芬 Cheng Hsiao-Fen、高幸枝 Kao Hsing-Chih 2014  年台灣電影數碼修復計劃其中一部，原始物料為 35  毫米黑白拷貝，以高清  畫質修復。One of the titles in Taiwan Cinema Digital Restoration Project 2014; restored in HD quality from the 35mm B&W print. 辛奇 Hsin Chi（1924 2010） 本名辛金傳，生於台北市萬華，就讀日本大學藝術戲劇科。 1957 年開始執導，台語片知名作品 包括《後街人生》（ 1965 ）、《地獄新娘》（ 1965 ）、《難忘的車站》（ 1965 ）、《燒肉粽》 （1969）等。2000 年獲中華民國電影導演協會選為年度傑出導演及金馬獎終身成就特別獎。

films, including

出現於台語片衰落期，被視為現存最辛辣且前衛的經典，代表台語片向來融混貫通 別具一格的進取生態。浪蕩男誘使愛他的女孩出賣色相，自己則成為有錢女人的玩 偶，片中人物多追求肉慾金錢，青春毫不浪漫，只是聯結社會財色網絡的籌碼。比 同期國粵語片犯禁，沒有倫理親情平衡，仿塑日本太陽族及新浪潮電影的年輕人， 享樂無底線，不乏暴虐扭曲的情色刻劃，大膽靈活並講究意味。男子剝削女子，又 不斷被她們嫌棄反制，電單車和跑車是財富也是性權力多寡的工具，性別鬥爭出乎 意料。超越一般青春片的輕盈，世故老到，坦露人的敗壞和罪惡的連環，現代場景 更添實感。六十年代末世界電影類型變種，潮流交錯相滲，這部台語式《阿飛正 傳》是台灣商業電影納新求存的佳作。故事地點卻設在我們熟悉的另一個城市，大 家入場便知。 Released

08.02.2020（六 Sat）14:30 FA 同場放映《疏離》Screening with Alienation

Hsin Chi, whose real name was Hsin Chin-Chuan, was born in the Wanhua District of Taipei. He drama at Nihon University in Japan. In 1957, he began to direct Taiwanese-language The Bride Who Has Returned From Hell (1965), Encounter at the Train Station (1965) The Rice Dumpling Vendors (1969). In 2000, he was honoured as a distinguished director by the Directors Guild of Taiwan and received Golden Horse Award for Lifetime Achievement. during the decline of Taiwanese-language Cinema, Dangerous Youth is seen as the classic that packs the hardest punch. It represents the ambitious and unique milieu of Taiwanese-language Cinema. A playboy lures a girl who has a crush on him to work in an establishment of ill repute while he becomes the plaything of a wealthy woman. The characters seek to satisfy their desires and greed, showing how youth is anything but romantic by using it as a currency in this lustful network. Compared to the Cantonese/Mandarin films of the same era, this film is not interested in the balance of familial relationship, but instead its characters is an imitation of the youth of Japanese ‘taiyozoku’ and New Wave. They indulge in decadent behaviours, violence and sex, as the film pulls no punches in its lively portrayals of these subjects. Men exploit women yet women still hold the power to spurn them. Motorcycles and sports cars are signs of wealth as well as sexual influence in a battle of the sexes that is full of surprises. Unlike your run of the mill youth films, this gem is mature in its core because it depicts the darkness of human nature and cycle of crime in a realistic setting. In the late 1960s, films around the world evolved rapidly and genres were mixed with exciting results. This Days of Being Wild of Taiwanese-language films broke new grounds for Taiwan’s commercial cinema. Interestingly, the story is set in another city that is familiar to the audience.

studied

Dr. Wang Chun-Chi is the Director of Taiwan Film Institute and associate professor at National Dong Hwa University. Her field of interest includes Taiwanese-language Cinema, queer in film, and filmmaking as a social practice. She has extensively in Chinese and English and is the editor of the book Taiwanese-Language Cinema

座講 TALK 青春夢醒：從《危險的青春》談台語片的性別政治 DANGEROUS YOUTH : GENDER POLITICS IN TAIWANESE-LANGUAGE CINEMA 08.02.2020（六 Sat）16:15 《危險的青春》放映後隨即開始 After the screening of Dangerous Youth 香港電影資料館電影院 Cinema, Hong Kong Film Archive 國語主講 In Mandarin 劉嶔 Lau Yam 王君琦博士

Dr. Wang Chun-Chi

現任台灣國家電影中心執行長、國立東華大學英美語文學系副教 授，美國南加大電影及電視批判研究博士。近年研究領域為台語 片、性別再現、影像的社會實踐等。曾出版多篇中英文論文，並 主編《百變千幻不思議：台語片的混血與轉化》一書。

representation

. 免費 Free of Charge 座位有限，先到先得，持《危險的青春》門票優先 Seats are on first-come-first-served basis, with priority given to ticket holders of Dangerous Youth 1956 年第一部 35 毫米的台語片《薛平貴與王寶釧》在受到港製廈語片刺激 的社會氣氛下問世，之後的十多年，台語片在沒有國家資源挹注的前提下 不只產量驚人，也樹立了獨特的風格。《危險的青春》雖然出現於台語片 的末期，但導演辛奇依然以他別具一格的視覺語言提出對社會的批判。講 座將從台語片簡介開始，介紹辛奇，並深入探討本片如何處理資本主義， 與性別政治的交織此一台語片常見的主題。

published

After the release of the first 35mm Taiwanese-language film Xue Ping-gui and Wang Bao-chuan in 1956, Taiwanese-language Cinema established its own unique style and went through a production boom in the next tenplus years even without financial support from the government. Although Dangerous Youth came at the tail end of this era, director Hsin Chi was still able to present his social critique with his one of a kind visual language. This talk will introduce the beginnings of Taiwanese-language Cinema and the career of Hsin Chi, while taking an in-depth look at how this film approach subjects such as capitalism and gender politics.

主持 Moderator 日期 Date 地點 Venue 講者 Speaker 費用 Admission 17

來往星港的交融與抒情 HONG KONG CINEMA’S LOVE AFFAIR IN THE SOUTH SEA 五十年代後期，光藝製片公司自「南洋三部曲」起奠定其在香港粵語片四大公司中 青春趨時的形象，作品多時裝文藝言情及喜劇，富中西混合都會氣息，營造謝賢、 南紅、嘉玲等好戲又性感的新星。三片根據熟悉的華僑經驗創作，但掌握時代感 性，技法清新，拍出誠摯精細的風貌人情；跨越類型，文藝驚慄奇情，情節變化多 端。秦劍在實驗形式，並抒寫更為個人且複雜的情理。星馬取景故事，屬於香港電 影曾經多年在東（南）亞跨國製作和傳播的歷史。 In the late 1950s, Kong Ngee Film Company’s ‘Nanyang Trilogy’ solidified the studio’s youthful and hip reputation among Hong Kong’s four biggest Cantonese film companies. Its modern melodramas and comedies retain an aura of East meets West, propelling the likes of Patrick Tse Yin, Nam Hung and Patsy Kar Ling to become new stars who were as talented as they were sexy. The three films are based on experiences of Chinese immigrants yet they manage to come off as refreshing and poignant stories with modern sensibilities. From melodrama to thriller to mystery, these genre-bending films hatch unpredictable twists and turns. Director Chun Kim experimented with form as he expressed personal and complicated sentiments. Onlocation filming at Singapore and Malaysia marked an important chapter in Hong Kong Cinema’s history with Southeast Asia. 新加坡亞洲電影資料館策劃三片修復， Imagica South East Asia 及 IMAGICA Corp. 於 2017 年執行， 原始物料為借自香港電影資料館的拷貝（《椰林月》 現存唯一的 35  毫米拷貝及三片現存唯一的 16  毫米拷 貝），《椰林月》以 4K 畫質修復，其餘兩片則以 2K 畫 質修復。亞洲電影資料館製作並保存了三片原始及修 復版掃瞄、修復版新底片、聲片及拷貝。 The films of the ‘Nanyang Trilogy’ were restored by the Asian Film Archive and conducted by Imagica South East Asia and IMAGICA Corp. in 2017, using the sole surviving 35mm print of Moon Over Malaya and 16mm prints of all three films loaned from the Hong Kong Film Archive. Moon Over Malaya was restored in 4K and the other two in 2K. The raw and restored digital scans, a new 35mm picture and sound negative, and a new positive print of the restored version of each film have been produced and are preserved by the Asian Film Archive.

After participating in the founding of Union Film Enterprise in 1952, Chan Man later co-founded Kong Ngee Film Company with Chun Kim and acted as assistant manager, producer and director. Known for his low-key persona and excellence in planning, he also directed various solid Cantonese films such as China Wife, The Happy Bride (1963), and A Go-Go Teenager (1966), etc.

Director Chan Man’s second film in the trilogy is the most moving melodrama, and it was hugely popular back in the day. In order to find a living, Ho Ah-gau moves from Macau to Southeast Asia, where he is going to marry into a wealthy family after conning a rich girl to fall for him. Back home, his mother succumbs to the pressure from loan sharks. His wife and offspring travel to Southeast Asia to find him, only to be sold by the cold-hearted Ho. The original stage play, Quest for a Long-lost Husband, was already widely known to overseas Chinese at the time.

Chan Man and Chor Yuen’s adaptation removes the nationalist subplot concerning the Sino-Japanese war and focuses on the timeless family drama. The hometown in the film exudes the essence of a Chinese village that is rare in this trilogy. In contrast, location shots of Singapore’s cityscape provide the backdrop for the drama that presents the social network of overseas Chinese. Keung Chung-ping’s

09.02.2020（日 Sun）10:30 FA 19

在星馬取景的「南洋三部曲」中，陳文導演的第二部最為通俗感動，當年大受歡 迎。何阿九從澳門到南洋討生活，騙得富家女愛慕，即將入贅。何母在家鄉被貴利 逼死，妻攜兒抵南洋尋訪，何竟狠心賣掉二人。原話劇《海外尋夫》早為華僑熟 悉，陳文和楚原的改編刪去國族層面的抗日情節，聚焦無時限的家庭倫理。家鄉充 滿「三部曲」罕有的中國鄉間味道，新加坡實景則是與其對比的城市景觀，並藉戲 劇展示其中的華僑社群脈絡。姜中平和南紅戲份甚重，前者演活懶散投機的嘴臉， 南紅則具可哀而樸素的靜美，均不負所望。片末私家車追火車，跨越星馬，利用異 國場景和刺激動感，彌補傳統人倫，是故事發生在香港的電影拍不到的。

唐山阿嫂 CHINA WIFE 香港 Hong Kong｜1957｜黑白 B&W｜108 分鐘 min｜DCP｜粵語 Cantonese｜ 中、英文字幕 Chi & Eng subtitles 導演 Dir：陳文 Chan Man 改編、副導演 Scr & AD：楚原 Chor Yuen 攝影 Cinematographer：陳幹 Chan Kon 演員 Cast：姜中平 Keung Chung-ping、南紅 Nam Hung、嘉玲 Patsy Kar Ling、 謝賢 Patrick Tse Yin 亞洲電影資料館館藏 Asian Film Archive Collection 陳文 Chan Man（1924－2012） 1952 年參與創辦中聯公司，後與秦劍成立光藝製片公司，出任副經理、製片、導演。形象低調， 長於策劃，但也拍出紮實多樣的作品。粵語片名作有《唐山阿嫂》、《幸福新娘》（ 1963 ）、 《鐵膽》（1966）等。

lively performance as a lazy opportunist and Nam Hung’s sympathetic yet homely beauty fulfill the audience’s expectations for the leading stars. The car-chasingtrain scene at the end, crossing from Singapore to Malaysia, is an excellent use of exotic locations and thrilling action, while making up for the traditional values. That is the kind of cinematic story one could not have shot in Hong Kong.

血染相思谷 BLOOD STAINS THE VALLEY OF LOVE 香港 Hong Kong｜1957｜黑白 B&W｜108 分鐘 min｜DCP｜粵語 Cantonese｜ 中、英文字幕 Chi & Eng subtitles 導演 Dir：秦劍 Chun Kim 原著 Org Story：關山美 Kwan Shan-mei 改編 Scr：司馬才華（即秦劍） Sima Choi-wah (a.k.a. Chun Kim) 攝影 Cinematographer：陳幹 Chan Kon 演員 Cast：謝賢 Patrick Tse Yin、嘉玲 Patsy Kar Ling、胡笳 Molly Wu Kar、 江雪 Kong Suet 亞洲電影資料館館藏 Asian Film Archive Collection 秦劍 Chun Kim（1926－1969） 五十、六十年代富獨特情志和活力的香港電影編導和電影事業家。參與成立中聯電影企業有限公 司，1955 年再創立光藝製片公司，多拍時裝文藝和現實喜劇，處理都市中產感性和現代知識份子 關懷。名作包括《慈母淚》（1953）、《秋》（1954）、《父母心》（1955）等。 A unique and vigorous Hong Kong writer-director who was active in the 1950s and 60s, Chun Kim participated in the establishment of Union Film Enterprise, and then Kong Ngee Film Company in 1955. His films are mostly modern melodramas and realistic comedies, which deal with subjects like middle-class sentiments and intellectual concerns. Among his many excellent works are A Mother’s Tears (1953), Autumn (1954), Parents’ Hearts (1955), and more. 光藝製片公司在星馬取景「南洋三部曲」的首部，秦劍作了一次混糅電影類型和潮 流的實踐，當中華僑處境和種族關係的演繹尤其特別。馬來亞華人男子與馬來女孩 相戀，他的母親反對，騙他到香港探訪姨媽。兩個表姐妹都愛上他，都意外死亡。 男子認定是馬來女孩施降頭，回去復仇。二男三女的愛情文藝，借用不少荷里活通 俗劇的異國戀和姐妹恩仇橋段，插入黑色電影、蠻荒歷險、驚慄恐怖等類型手法， 結構和變奏複雜，趣味無窮。光藝新星均有深刻表演，俊朗性感的謝賢更是中心。 秦劍向愛在片末標榜教化願景，香港的幽靈空間和馬來亞的伊甸園互映，哥德式情 燄和降頭奇聞交錯，歸結於種族融和，盡顯他的電影妙思和工藝。

09.02.2020（日 Sun）13:30 FA

A Chinese-Malaysian’s romance with a Malayan girl faces opposition from his mother, who tricks him to go visit his aunt in Hong Kong. There, his two cousins fall in love with him yet they both drop dead by accident. The man concludes that the Malayan girl has cast a hex on him, thus he decides to go back for revenge. As a romance that involves two men and three women, the film borrows elements of exotic love and sisterly vengeance from Hollywood melodramas. Its intricate structure and pacing amuse viewers with traits of film noir, jungle adventure and thriller. Kong Ngee’s young stars—most notably the dashing Patrick Tse Yin— provide impressive performances. Chun showcases his craft and cinematic muse by incorporating the spirits’ world of Hong Kong and Malaysia’s garden of Eden, while crisscrossing gothic romance with fantastical sorcery in a conclusion for racial harmony.

Shot in Singapore and Malaysia, Kong Ngee Company’s first film of their ‘Nanyang Trilogy’ is director Chun Kim’s genre-bending attempt to create a unique sensation. It is notable for its portrayal of Chinese diaspora and race relations.

（1926－1969） 導演簡介見上頁。 See P.20 for

椰林月 MOON OVER MALAYA 香港 Hong Kong｜1957｜黑白 B&W｜120 分鐘 min｜DCP｜粵語 Cantonese｜ 中、英文字幕 Chi & Eng subtitles 導演 Dir：秦劍 Chun Kim 編劇 Scr：陳情女士（即秦劍） Madam Chan Ching (a.k.a. Chun Kim) 攝影 Cinematographer：陳幹 Chan Kon 演員 Cast：謝賢 Patrick Tse Yin、南紅 Nam Hung、嘉玲 Patsy Kar Ling 亞洲電影資料館館藏 Asian Film Archive Collection 「三部曲」的壓卷作，粵語文藝電影言情守志的經典示範。謝賢飾熱心華僑教育事 業的老師，因與千金小姐南紅結合，轉隨岳父經商，始終有違志趣，與妻隔閡日 深，釀成悲劇。用華僑社會極重視的教育，作為主角的生命初心，秦劍着力經營他 擅長的情理辯證。數場夫妻爭執，論盡個人理想與二人婚姻的矛盾，沒有硬銷價值 觀，反而鋪展人生的複雜面相。秦劍簽名式的意象一一呈現：甜蜜的新婚夫婦，丈 夫稍幼嫩愛幻想，妻子富母愛卻早亡，餘下丈夫與女兒相依為命。影片也是關於男 性的成長痛楚、女性的撫慰及消逝。場面調度沉穩有度，表演敏感並有餘韻，在大 量馬來亞名勝風光裏，生離死別，艱險而多情，秦劍抒情體系達致一個高峰。

秦劍 Chun

The final instalment of the trilogy is a prime example of Cantonese melodrama. Patrick Tse Yin plays an enthusiastic overseas Chinese teacher who marries a wealthy heir played by Nam Hung. He then follows his father-in-law into the business world. However, adapting a profession against his own interest has caused a rift between him and his wife, which leads them to a path of tragedy. By using overseas Chinese’s emphasis on education as the protagonist’s vocation, director Chun Kim focuses on laying out his characters’ dialectical reasoning. In the several scenes of argument between husband and wife, they discuss personal dreams and marital conflicts, yet there is never any preaching of personal values, just a demonstration of the many complicated facets of humanity. One can see all of Chun’s signature elements, such as a honeymoon romance, a youthful and idealistic man, the death of a maternal wife, and the life of a widower and his daughter. The film is also about the growing pains of men and the soothing (yet short-lived) nature of women. The sure-handed mise-en-scène pairs perfectly with the sensitive and resounding performances. In the midst of the Malayan scenery, a matter of life and death, in addition to the agony of blossoming emotions, marks the pinnacle of Chun’s lyrical sensibilities. Kim director’s profile. 09.02.2020（日 Sun）16:00

FA 21

座講 TALK 「南洋三部曲」流露的創作想像與作者心象 MIND EXPRESSION OF THE FILMMAKERS IN ‘NANYANG TRILOGY’ 09.02.2020（日 Sun）18:00 《椰林月》放映後隨即開始 After the screening of Moon Over Malaya 香港電影資料館電影院 Cinema, Hong Kong Film Archive 粵語主講 In Cantonese 劉嶔 Lau Yam 羅卡 Law Kar 早年對粵語片深感興趣，其後在香港國際電影節和香港電影資料館 工作，逐漸加深對粵語片以至華語片的認識，退休後仍持續進行研 討寫作。 Having developed a keen interest in Cantonese cinema in his early years, Law Kar later worked for the Hong Kong International Film Festival and the Hong Kong Film Archive. His understanding of Cantonese and Chinese-language Cinema has gradually deepened over the years, and he has continued his research and writing after retirement. 免費 Free of Charge 座位有限，先到先得，持《椰林月》門票優先 Seats are on first-come-first-served basis, with priority given to ticket holders of Moon Over Malaya 「三部曲」既有對五十年代南洋華僑處境的描繪，亦有對這處 境的憂慮以至恐懼，和引伸出的想像。而最難得的，是能感知 到創作者的主觀心象，講者嘗試通過它影像／語言的表達作些 解析引導。 Besides depicting the lives of Chinese immigrants in the Nanyang region, this trilogy also gives us a glimpse of the filmmakers’ personal anxieties and fears about this foreign land. Our speaker will analyse the visual and linguistic expressions of these distinctive motion pictures. 主持 Moderator 日期 Date 地點 Venue 講者 Speaker 費用 Admission

菲林技術觀往——彩色電影 早期電影總予人黑白單色的印象，但其實電 影技術發明之始，創作者已不滿足於黑白影 像，他們雖然受制於當時生產攝影物料的技 術，仍為眾多作品運用不同人工着色方法， 如手繪上色、模板印刷及其他染色和調色， 予觀眾新鮮的官能刺激。後來菲林物料不斷 改良，以求記錄現實世界的色彩，加色法和 減色法等技術亦應運而生；片廠和發明家爭 相研發彩色攝影技術，目前有記載的彩色加 工技法逾百種，較著名的加色法有 Kinemacolor （雙色）、 Gaumont Chronochrome （三色）、特 藝彩色一號（雙色）、 Lee and Turner （三色） 和 Douglass Color No. 1 （雙色）；減色法就有柯 達彩色（ 1930  年代後易名為 Fox Nature Color ）、 Polychromide、Prizma II、Zoechrome、特藝彩色四 號等。可惜由於菲林本身保存不易，化學上色 的物料既不穩定，容易褪色，且令菲林更易損 壞，故業界找到的早期影片多是殘破不堪。早 年電影修復技術尚未完善，影像往往只能以較 穩定的黑白菲林保存，而今越來越多早期電影 藉着先進的掃瞄和影像重置手法重新修復，本 單元搜羅多部經修復的獨特彩色影片，包括數 部亞洲製作，藉此介紹多種早期彩色技術，使 觀眾得以發掘電影色彩璀燦的歷史。 十九世紀末、二十世紀初的電影創作者探索 這個當時屬全新媒介的無限潛能，《翩翩 巴黎人》（ 1897 ）、《馬戲奇藝六姐妹》和 《月球之旅》（又名：《月球歷險記》） （同為 1902 ）及《幻法鬱金香》（ 1907 ）展 示了最早期電影由寫實逐步進入虛幻，這段 時期的作品充滿了生命力和天馬行空的想像 力，以多幕劇的形式拍攝，利用剪接、沖印 以至人手逐格上色和模版印刷，呈現目不暇 給的視覺戲法，創作意念完全不受技術所限 制。《非凡之旅》（ 2011 ）述說電影大師梅 里耶傳奇一生，我們亦從中窺見百年前創作 者在拍攝和上色的超凡技藝。後世為修復和 重構他碩果僅存的經典作品《月球之旅》， 耗時十數年，過程同樣充滿戲劇性。其後電 影業急速發展，手工上色過於費時，未能配 合流水作業的生產線，電影公司研發出菲林 23

染色和調色法。一開始過程看似簡陋，有時 全片只有一種顏色，純粹為擺脫「沉悶的黑 白」，滿足觀眾對彩色的追求。不過後來製作 變得越見細緻，由單一色調演變出因應時間 （晝夜）、場景（內外）、氣氛（張弛）、劇 情等因素，每幕設相應色調；《越過萬重山》 （ 1912 ）和《西廂記》（ 1927 ）同是在外地實 景拍攝，借助出色的調色編排，令前者——發 生在怡人小鎮的復仇悲劇，和後者——古典 文學才子佳人的愛情歷險，情節尤其突出。 與此同時，特藝彩色於 1916  年誕生，這時 的技術能重製出的光譜仍非常有限，而且成 本高昂，但電影公司為吸引觀眾，會使用多 種着色技法，小說名著《歌場魅影》首部同 名改編電影（ 1925 ）製作時就便用染色、局 部 Handschiegl  着色及特藝彩色二號（雙色）， 不同的着色技術共冶一爐，實是一場新意十足 的視覺盛宴。 1932  年，特藝彩色成功利用三原色（紅、綠、 藍）減色法提升技術與擬真度，這種技術甚至 比現實有更高更濃厚的飽和色調而著名，因此 常用於歌舞片、愛情片，甚至西部拓荒冒險題 材，《地老天荒不了情》（ 1954 ）利用了特藝 彩色的特點，細緻逼真地描繪出美國繁華盛世 的五十年代，奢華的汽車和公寓、五顏六色的 服裝、新穎的家電擺設，都透過鮮艷的電影調 色更加懾人心魄。在亞洲，雖然彩色電影的發 展雖不如西方蓬勃，早期依然有不少嘗試， 《千人針》（ 1937 ）採用 1932  年於美國面世的 Cinecolor  雙色減色法，是現存最早應用彩色拍 攝技術的日本有聲電影；成立於東京的富士 相片菲林公司則最早研發出天然彩色拍攝技 術，松竹利用富士底片拍攝的第二部彩色電影 《夏子之冒險》（ 1953 ），以遼闊壯麗的日本 自然景色烘托女主角堅毅不撓的個性。翌年， 泰國亦拍攝了首部彩色電影《聖提維納》，唯 美構圖配上絢麗色彩，渲染深厚文化傳統和濃 烈宗教氣息。

To many, early films mean black-and-white. However, as soon as motion pictures were invented, filmmakers were looking beyond the monochrome. Despite technological limitations, non-photographic methods like hand colouring, stencil printing, tinting and toning were conceived and broadly used, offering the audience new and exciting visual experiences. With advances in film materials, additive and subtractive colour processes were developed to produce photographic colour in films, and studios and inventors were in a race to invent the latest technologies aiming to capture the colours of the real world. While there are over a hundred recorded film colouring techniques, some well-known additive systems are Kinemacolor (2 colour), Gaumont Chronochrome (3 colour), Technicolor Process 1 (2 colour), Lee and Turner (3 colour) and Douglass Color No. 1 (2 colour); notable subtractive systems include Kodachrome Two-color (renamed Fox Nature Color in the 1930s), Polychromide, Prizma II, Zoechrome, Technicolor Process 4, etc. Most early films recovered are in poor condition, as the conservation of film itself has not been a simple task and the colouring chemicals are unstable and easily faded. As early film restoration techniques were far from perfect, moving images were kept as the more stable form of black-and-white films. Nowadays, more and more early films are restored through innovative scanning and image reconstruction. This section presents a number of unique colour films, including several Asian productions, in their restored formats, to demonstrate various early film colouring techniques and let the audience discover this rich and vibrant part of film Duringhistory.the late 19th and early 20th century filmmakers explored the endless potential of this latest technology of the time. Les Parisiennes (1897), The Six Sisters Dainef, A Trip to the Moon (both 1902) and Het Tovertoneel (1907) demonstrated early films’ narrative transition from reality to phantasm. These multi-act works were full of life and wild imagination, presenting marvellous visual effects and creativity unconstrained by technological limits. The Extraordinary Voyage (2011) chronicles the life of iconic filmmaker Georges Méliès, his adroit filming and colouring over a century ago, and the decade-long restoration of his A Trip to the Moon, a journey

:

A QUICK HISTORY OF FILM TECHNOLOGY MOTION PICTURES IN COLOUR

25

just as dramatic as his life. With the rapid development of film industry, studios replaced hand colouring with tinting and toning as they employed assembly-line production techniques. At the beginning the effect was rudimentary and single-toned, created as something other than the monochrome just to satisfy the audience’s desire for colour. Later the effects were more refined and context-specific, with corresponding colours for various times of the day, locations, atmospheres as well as plot turns.

Both filmed on location, the plots of Mills in Joy and Shadow (1912), a tragedy of vengeance in a pleasant town, and Way Down West (1927), a classical tale of romance between a scholar and a fair lady, were intensified by elaborated toning. Though in 1916 the colour film printing process Technicolor was invented, the process displayed a limited colour spectrum and the production cost was daunting. Despite the limitations studios strove to impress audience with different colouring techniques, serving up an innovative visual feast with films like The Phantom of the Opera (1925), the first adapted from this classic novel, with a combination of toning, partial Handschiegl colouring and Technicolor Process 2 (2 colour). In 1932, Technicolor managed to improve its processes and image authenticity with its subtractive 3 colour (RGB) process. With image tones richer and more intense than reality, this process was often used in genres like musical, romance, and even western adventure films. With the Technicolor process Magnificent Obsession (1954) portrayed in realistic detail the prosperous American life in the 1950s. Luxurious cars and apartments, colourful clothes and novel home appliances impressed further with vivid toning. While colour films in Asia did not flourish as much as in the west, filmmakers in the region were also keen to experiment; filmed using the American twostrip colour process Cinecolor invented in 1932, The Thousand-Stitch Belt (1937) is the oldest surviving Japanese colour film with sound. Fuji Photo Film Co., Ltd. founded in Tokyo was Asia’s first to develop filming techniques with the autochrome process. Natsuko’s Adventure in Hokkaido (1953), Shochiku’s second colour feature made with Fuji’s films, compares the leading character’s resolute nature to Japan’s majestic landscape. Santi-Vina, produced in Thailand in the next year, enriched its cultural and religious qualities through exquisite composition and brilliant colours.

手繪上色及模版上色 HAND COLOURING & STENCILLING TECHNIQUE 由人手逐格菲林上色的技法最先應用於銀鹽攝影和幻燈放映，為影片裏的人物、 佈景和服飾添上繽粉色彩；此手工藝講求精細，屬最早期的電影美術工種，亦是 最早有女性參與的電影工序。此工序相當費時，以早期電影每秒十六至二十格計 算，一部十分鐘短片就有超過一萬格影像要處理。模版上色比手繪上色快捷，只 需將待上色影片複製作模版，以專用機器裁出需要上色部份的輪廓，通常是場 景，就可用印刷方式塗上染料，色彩效果亦比手繪上色的影片更清晰鮮明。

First used in gelatin silver printing and projection slides, hand colouring added colours to characters, costumes and backdrops on the film; it was one of the earliest specified trades in the film arts department, and the first filmmaking process in which women participated. This task was an exacting one; for early films which were shot at 16 to 20 frames per second, there were over 10,000 frames to process in a 10-minute short film. Stencilling was a more effective technique and the colouring effect was sharper. A stencil print with the areas to be coloured, usually the sets/scenes, were created and cut, first manually, later with a cutting machine, before dyes were applied.

27

翩翩巴黎人 LES PARISIENNES 美國 USA｜1897｜手繪上色 Hand coloured｜36 秒 sec｜35mm｜無聲 Silent 導演 Dir：不詳 Unknown 荷蘭 EYE 電影博物館藏有影片68 毫米原拷貝，1995年將影像保存至35毫米彩色底片後再於 兩年後沖印成現有拷貝。EYE Filmmuseum’s original vintage print was on 68mm. That print was preserved in 1995, onto 35mm colour negatives and in 1997 onto colour stocks. 馬戲奇藝六姐妹 THE SIX SISTERS DAINEF 法國 France｜1902｜手繪上色 Hand coloured｜3 分鐘 min｜35mm｜無聲 Silent 導演 Dir：不詳 Unknown 荷蘭 EYE 電影博物館館藏 EYE Filmmuseum Collection 幻法鬱金香 HET TOVERTONEEL (A.K.A. LES TULIPES OR EL IRIS FANTASTICO) 法國 France｜1907｜手繪及模版上色 Hand coloured and stencilled｜ 5 分鐘 min（缺本 incomplete）｜35mm｜無聲 Silent 導演 Dir：Segundo de Chomón 荷蘭 EYE 電影博物館館藏 EYE Filmmuseum Collection

月球之旅 （又名：月球歷險記） A TRIP TO THE MOON 法國 France｜1902｜手繪上色 Hand coloured｜16 分鐘 min｜DCP｜默片配樂 Silent with scores 導演 Dir：佐治梅里耶 Georges Méliès 演員 Cast：佐治梅里耶 Georges Méliès、Victor André、Bleuette Bernon Lobster Films 於 1993 年尋回此片之彩色版拷貝，經荷蘭 Haghefilm 修復所化學處理後逐格拍攝，並於 2011 年 聯同 Groupama Gan Foundation for Cinema 及 Technicolor Foundation for Cinema Heritage 作數碼修復。A copy of the original hand coloured version of this film was recovered in Barcelona and acquired by film restoration expert Lobster Films in 1993. The reel was sent to the Haghefilm Digitaal in the Netherlands to undergo chemical treatment before the nitrate print were digitised frame-by-frame and digitally restored in a joint effort between Lobster Films, Groupama Gan Foundation for Cinema and Technicolor Foundation for Cinema Heritage in 2011. 非凡旅程 THE EXTRAORDINARY VOYAGE 法國 France｜2011｜彩色 Colour｜65 分鐘 min｜DCP｜法語及英語 French & English｜ 中、英文字幕 Chi & Eng subtitles 導演 Dir：Serge Bromberg、Eric Lange 攝影 Cinematographer：Jean-Louis Sonzogni 越過萬重山 MILLS IN JOY AND SHADOW 荷蘭 Netherlands｜1912｜模版上色、染色及調色 Stencilled, tinted and toned｜7 分鐘 min｜35mm｜無聲 Silent 導演 Dir：亞弗列梅欽 Alfred Machin 演員 Cast：Germaine Dury、Maurice Mathieu、Germaine Lécuyer 荷蘭 EYE 電影博物館館藏，原硝酸片拷貝 1990 年於德國尋回並送回荷蘭。EYE Filmmuseum Collection, the original nitrate print of this film was found in Germany and repatriated to the Netherlands in 1990. 29

電影大師梅里耶結合魔術和剪接沖印特技，加上人工上色，在電影發明之初已創造出令人目 眩神迷的視覺奇觀。梅里耶一生創作了逾四百部作品，但只有極少流傳後世。《月球之旅》 是其登峰造極之作，亦是首部問世的科幻電影。六個天文學家自製火箭勇闖月球，遇上千奇 百怪的太空生物，一幕又一幕的追逐令人驚心動魄又捧腹大笑。彩色版拷貝原以為已燒毀， 卻於加泰隆尼亞電影資料館尋回，惟部份菲林已經損壞，不能以常用的方法掃瞄，修復人員 將全片共 13,375  格影像耗時十年逐格拍攝，再以數碼技術一一修補，對照現存黑白拷貝為 缺去部份上色、調光。Serge Bromberg 及 Eric Lange 將整個修復過程拍攝成紀錄片《非凡旅 程》，並邀請著名電影人現身講解梅里耶驚艷後世的電影美學。

《翩翩巴黎人》由美國 American Mutoscope Company  攝製，身穿飄逸艷 麗舞服、大跳新潮肯肯舞的巴黎少女粉墨登場；《馬戲奇藝六姐妹》由法 國百代公司攝製，片中的特技藝人位位身輕如燕，在華麗的佈景前大顯功 架；早期電影除了寫實片亦發展出多類型短劇，並廣用各式剪接特技，風 格奇幻、色彩豐富；同樣由法國百代公司攝製的《幻法鬱金香》就是著名 例子——花仙子遊園嬉戲，畫面變出巨人和七彩噴泉，手繪加上模版上色的 視覺特技令人目不暇給；《越過萬重山》在荷蘭漁村福倫丹實景拍攝，講 述流落鄉間的男子被磨坊主人無情對待，復仇怒火不惜將對方美好的生活 毀於一炬，數幕夜景用上紫紅交錯的染色，格外淒艷。

Segundo de Chomón（1871–1929） Giovanni Pastrone’s Cabiria Abel Gance’s Machin

電影製作人兼魔術師，是將特效技巧運用在電影拍攝的先驅。作品《月球之旅》和《奇幻航程》（ 1904） 被認為是最重要的早期科幻電影。 A magician and an influential filmmaker who pioneered special effects in motion pictures in the early cinema period. His films A Trip to the Moon and Le voyage à travers l’impossible (1904) are considered among the most important early science fiction films. Serge Bromberg & Eric Lange 導演和電影史學家。他們於 1985 年創辦 Lobster Films，致力於電影保存及修復。 Directors and film historians. They founded Lobster Films in 1985, a company dedicated to film restoration and preservation. 31.01.2020（五 Fri）19:35 BC *設映後談，講者 Giovanna Fossati 博士，英語主講 Post-screening talk by Dr. Giovanna Fossati (In English)

(1914) and

Napoleon (1927). 亞弗列梅欽 Alfred

（1877–1929） 身兼電影製片人和演員，作品在早期電影產業以實驗多種彩色電影技法聞名。

Alfred Machin was a film director, producer and photographer, whose works the earliest colouring Georges Méliès（1861–1938）

experimented

Les Parisiennes was an American Mutoscope Company production in which a chorus line of young female dancers in charming light gowns performed the then popular cancan; The Six Sisters Dainef was a French production by Pathé Frères, with agile acrobats going all out in front of the backdrop of a classical-styled interior. Besides realistic narratives, early films branched into a variety of vignettes in which various editing techniques were widely used to create magical and vibrant scenes; Het Tovertoneel, also a production of Pathé Frères, was a prominent example of such a feast for the eyes: in the garden where the fairies frolicked, a giant and a rainbow-hued fountain coloured by hand and stencilling appeared. Filmed on location in Volendam, The Mills in Joy and Shadow told a tale of revenge as a tramp torched the miller’s wooden mill as he refused the tramp any alms. Dusk scenes tinted alternatively in crimson and purple added despair to this bleak tale.

在默片時期以創新的視覺特效和動畫技術而聞名。他參與了多部著名電影的特效設計， 包括《卡比利亞》（1914）和《拿破崙》（1927）。 A director known for innovative special effects and animation techniques. He directed special effects for notable films, including

Just a few years after the invention of cinema, master filmmaker and magician Georges Méliès created the visually mesmerising A Trip to the Moon, his best remembered work and the world’s first ever sci-fi film, with magic tricks and film editing, processing, and hand colouring techniques. Six astronomers set off to the moon in a rocket created by themselves and met a range of strange inhabitants, with encounters in turn hair-raising and side-splitting. While Méliès made over 400 films in his career, most of them have been lost, including the colour version of A Trip to the Moon —until it was rediscovered among the collection of the Filmoteca de Catalunya. As the print was too fragile to undergo regular scanning, the fragments of 13,375 frames were captured via digital camera frame by frame over a period of 10 years, before the images were individually restored digitally, with missing parts coloured and colour graded referencing the black-and-white version. In The Extraordinary Voyage, directors Serge Bromberg and Eric Lange (Lobster Films) chronicle this restoration journey and interview recognised filmmakers on Méliès’ cinematic legacy.

techniques on films. 佐治梅里耶

座講 TALK 早期彩色默片的保存和展示／數碼時代的電影資料館 RESTORING AND PRESENTING SILENT COLOUR FILMS AND THE DIGITAL TURN IN FILM ARCHIVING 01.02.2020（六 Sat）16:30 百老匯電影中心一樓講廳 1/F Foyer, Broadway Cinematheque 英語主講，粵語詮譯 In English with Cantonese interpretation 江千慧 Chanel Kong M+流動影像副策展人 Associate Curator, Moving Image, M+ Giovanna Fossati 博士 Dr. Giovanna Fossati 荷蘭 EYE 電影博物館總策劃、阿姆斯特丹大學電影保育及數碼影像文化學科教授 Chief Curator at EYE Filmmuseum and Professor of Film Heritage and Digital Film Culture at the University of Amsterdam 免費 Free of Charge 座位有限，先到先得，持本節目門票優先 Seats are on first-come-first-served basis, with priority given to ticket holders of this programme While research on early colour films had been overlooked by major archival bodies until the mid 1990s, in the recent decade restoration organisations in Europe began restoring and reconstructing films stocks with emphasis on recovering the colours on film, and film festivals like Il Cinema Ritrovato and the Pordenone Silent Film Festival have also been founded to present and promote these films. Among the organisations dedicated to presenting these restored classics to modern-day audience is the EYE Filmmuseum (formerly the Nederlands Filmmuseum), with its 1995 workshop ‘Colours in Silent Film’. Speaker Dr. Fossati, a participating researcher of this workshop, has been studying early colour films over the last 20 years. In this talk she discusses the history and conservation of early colour films, and the changes in the EYE Filmmuseum’s practices in the digital age. 主持 Moderator 日期 Date 地點 Venue 講者 Speaker 費用 Admission 九十年代中期之前，早期彩色電影的研究仍被一眾主流資料館忽 略，直至近十年歐洲不少修復所均以重現影片色彩為前提修復和重 構，亦有不少相關電影節如 Il Cinema Ritrovato 、樸第朗尼默片展 等，展示和推廣這些影片，很多經典作品因為這些機構的努力得以 重現觀眾眼前，當中亦歸功於 1995 年荷蘭國家電影資料館（今EYE電 影博物館）所舉行的「默片中的色彩」工作坊，講者 Fossati  博士就 是當時其中一位參與其中的研究人員，研究早期彩色電影至今超過 二十 年。這次她會講授早期彩色電影的歷史和保存，並分享 EYE 電影 博物館於數碼時代實踐的轉變。 31

特藝彩色 TECHNICOLOR 最早期的特藝彩色技術於 1916 年面世，原理與 Kinemacolor 相近，同樣使用特製的攝影機，透過紅、綠兩 色濾鏡分別拍攝兩條黑白底片，放映時再透過紅、綠兩色濾 鏡將影片合成為由紅光和綠光組成雙色影像，而特藝彩色一 號的技術比 Kinemacolor  更能於拍攝時捕捉一樣的畫面。其 後特藝彩色技術不斷改良，發展成三色系統，特藝彩色四號 的稜鏡技術可同時把綠、藍、紅三色的記錄分別攝於三條黑 白底片上，再以染印法（ dye-transfer ）沖印成正片拷貝， 此技術推出後特藝彩色便於三十年代中至五十年代主導彩色 電影市場。 The first version of the Technicolor processes was invented in 1916. It was similar to Kinemacolor in that both used special cameras to record the red and blue-green images on a single strip of black-and-white negative through a single lens using a beam splitter and filters for both colours; and that the images were shown with a special projector with lenses with colour filters adding the tint. Technicolor Process 1 was better than Kinemacolor at capturing the same scene in red and blue-green on consecutive frames. The Technicolor processes improved over time, with the three-strip Technicolor Process 4 recording, with the use of a split-cube prism, the red, blue and green aspects of the scene on three separate rolls of black-and-white film. From the negatives dye-transfer release prints were prepared. Such technology allowed Technicolor to dominate the colour film market from the 1930s to mid-1950s. Handschiegl 着色 HANDSCHIEGLPROCESS 原理與模版上色相近，同時以染色及調色 的手法為畫面局部上色。待上色的部份以 不透明的菲林模版遮蓋後複印做底片，遮 蓋的輪廓因未被曝光而較軟，並可吸收酸 性染料，再以專用機器沖印時就可浸透到 正片拷貝上。同一場景通常會使用多過一 種顏色，製造混色的效果。 Similar to stencil colouring, this process coloured images by partial tinting and toning. The parts to be coloured were covered with an opaque stencil to create a dupe-negative. The blocked-out areas, soft as they were not exposed, absorbed the acid dyes which were then transferred onto the positive print in a specialised processing machine. Usually more than one colour was applied to the same scene to create a blend of colours. 染色及調色 ANDTINTINGTONING 染色是把正片拷貝中不同場景剪開放入染料 浸染，並以酸性液體固定顏色，改變畫面整 體的色調，菲林整體包括齒孔兩邊都會均勻 上色；調色就是使畫格內的黑色部份與染料 產生化學反應上色。通常會兩種技術配合使 用，為不同場景配上不同的氣氛。 In tinting, the positive print was cut into fragments and immersed into corresponding dye baths. The dyes, dissolved in an acid solution, would bond with the image’s gelatin and change the overall tone of the image. The film roll, including the perforations, would be evenly coloured. Toning coloured the blacks in the frame with a dye in a chemical reaction. These two processes were often used together to create various moods for different scenes.

Based on Romance of the West Chamber and shot entirely on location in regions south of the Yangtze, the film demonstrated skilful camera movement and editing, and a compelling narrative of the scholar-beauty genre with a fantastical Arabian Nights-esque touch, aesthetically in no way inferior to the West. Lost in wartime, a nitrate print of the 50-minute European version of this film has been in the collection of the Nederlands Filmmuseum. The museum sent two copies of the photochemically restored version to China and Taiwan in 1992 and its colour print was duplicated by the Hong Kong Film Archive in 2003 and scanned digitally in 2014. Chinese intertitles were added replacing the original French, using the illustrations in the film brochure as reference. A segment with original French intertitles will be shown in this screening.

西廂記 WAY DOWN WEST 中國 China｜1927｜染色 Tinted｜56 分鐘 min（缺本 incomplete）｜DCP｜ 默片現場配樂 Silent with live music accompaniment｜中文插入字幕、英文字幕 Chi intertitles & Eng subtitles 編導 Dir & Scr：侯曜 Hou Yao 攝影 Cinematographer：梁林光 Liang Linguang、黎民偉 Lai Man-wai 演員 Cast：林楚楚 Lam Cho-cho、李旦旦 Lee Dan-dan、葛次江 Ge Cijiang 現場配樂 Live music accompaniment： NAI（陳偉發 Chan Wai Fat．馮國基 Gabriel Fung．劉子斌 Bunn Lau） 康樂及文化事務署香港電影資料館館藏 Collection of Hong Kong Film Archive, Leisure and Cultural Services Department 侯曜 Hou Yao（1903－1942） 電影導演、話劇編劇，對電影製作理論亦有貢獻，電影作品多樣，包括言情文藝、民間傳奇，探 討性別不平等的觀念及刻劃日本侵華等。 A film director and playwright who led the development of film theory in early Chinese Cinema. His work addressed social issues of the time, including gender inequality and Japanese aggression. 改編戲曲故事《西廂記》，全片在江南實景拍攝，靈巧的運鏡和剪接、緊湊的劇情 敘事，甚至為千古傳誦的才子佳人故事添上《一千零一夜》般的奇幻色彩，美學成 就不遜西方。本片一度因戰火失蹤，荷蘭國家電影資料館收藏一個約五十分鐘的歐 洲版硝酸片拷貝，1992 年以光化學修復後將兩個拷貝分別交予中國和台灣保存。香 港電影資料館於 2003 年複製荷蘭國家電影資料館的彩色拷貝， 2014 年將拷貝掃瞄 影像成數碼格式，並參考電影特刊的插畫重構電影插入字幕，將原有的法文換成中 文。今次放映亦會播放原法文插入字幕版選段。

01.02.2020（六 Sat）19:50 BC 33

歌場魅影 THE PHANTOM OF THE OPERA 美國 USA｜1925｜染色、局部 Handschiegl  着色及特藝彩色二號 Tinted, Handschigel coloured and Technicolor Process 2 sequences｜89 分鐘 min｜DCP｜默片配樂 Silent with scores｜英文插入字幕 Eng intertitles 導演 Dir：路柏祖利安 Rupert Julian 攝影 Cinematographer：Charles Van Enger, Virgil Miller 演員 Cast：郎陳利 Lon Chaney、瑪麗菲萍 Mary Philbin、羅文加利 Norman Kerry 英國 Photoplay Productions 聯同 George Eastman House、加州大學洛杉磯分校電影 及電視資料館、The Stanford Theatre Foundation 及 David Shepard，採用 1929 版 本 35  毫米黑白及 1925  年版本唯一的 16  毫米彩色拷貝，修復並重構 1925  年彩色 版。Restored and reconstructed by Photoplay Productions, in association with George Eastman House, UCLA Film and Theatre Archive, The Stanford Theatre Foundation and David Shepard, from the black-and-white print of the 1929 version and the sole surviving 16mm coloured print of the 1925 version. Courtesy of Photoplay Productions © 1996 Photoplay Productions 路柏祖利安 Rupert Julian（1879－1943） 以自編自導自演戰時宣傳片《柏林之害：德意志國王》（1918） 成名，其後將卡斯頓勒胡 1910 年撰著的驚悚小說，首度改編成 電影《歌場魅影》。 Made his name for writing, directing and starring in the propaganda film The Kaiser, the Beast of Berlin (1918), his directing career later peaked with The Phantom of the Opera, the first film adaptation of Gaston Leroux’s 1910 famous horror novel. 巴黎歌劇院壯麗巍峨，大堂和劇場總是衣香鬢影， 華麗背後卻有痴心怪客興風作浪，晚晚利用密室和 秘道神出鬼沒，令人心惶惶，為博紅顏一笑不惜綁 架撕票，只可惜心上人其實情傾俊朗紳士，為了成為 首席歌手才聽從怪客，扭曲的人性和容貌注定要將 眾人推至玉石俱焚的深淵。首部改編自法國作家卡斯 頓勒胡同名小說的電影，成為哥德恐怖默片經典， 全片運用染色和燈光技巧烘托幕幕驚心氣氛，化妝 舞會一幕採用當時最新的特藝彩色（雙色）技術，偏 紅和綠的影像依然光鮮艷麗；劇院天台一幕則運用 了 Handschiegl 着色技術，在漆黑的夜空突現那一抹深 藍的魅影。修復版力求忠於電影的色彩效果，並由美 國默片配樂大師卡爾戴維斯重新撰樂編曲。

The ever-magnificent Palais Garnier is haunted by the mysterious Opera Ghost whose nightly appearance from his lair cast a shadow over the 02.02.2020（日 Sun）14:00 BC glorious theatres. Obsessed with his student, the young soprano Christine, the Opera Ghost kills and kidnaps just to win her heart. In love with her childhood friend who has become the Vicomte, Christine obeys her tutor only because she aspires to become the lead singer. They are destined for tragedy as the Phantom’s grotesque face betrays his twisted heart. The first film adaptation of Gaston Leroux’s novel of the same name, this classic silent gothic horror film offered one chilling scene after another by tinting and lighting techniques; the masquerade scene was coloured with the then latest two-colour Technicolor, where the red and green captured are still vibrant today; the rooftop scene used the Handschiegl process to create the deep blue shadow of the Phantom that loomed in the night sky. The restored version strives to stay true to the original colours and a new soundtrack is created by Carl Davis, the American master composer of silent film scores.

The presentation of The Phantom of the Opera by arrangement with Photoplay Productions and Patrick J Stanbury.

Filmed in the fashionable Technicolor Process 4, the glorious scenery and the materialistic lifestyle in the 1950s are the backdrop of Sirk’s metaphorical portrayal of impending decadence and death, as seen throughout the film in the latest fashion, race cars, mansions, interiors, and even lighting, reflecting the characters’ firm belief in seizing the day and enjoying life while they can.

地老天荒不了情 MAGNIFICENT OBSESSION 美國 USA｜1954｜特藝彩色四號 Technicolor Process 4 ｜108 分鐘 min｜ 數碼 Digital｜英語 English｜中文字幕 Chi subtitles 導演 Dir：德格拉斯薛克 Douglas Sirk 編劇 Scr：Robert Blees 攝影 Cinematographer：Russell Metty 演員 Cast：洛赫遜 Rock Hudson、珍惠文 Jane Wyman 數碼高清修復版，影像來自 35 毫米中間正片，聲音則以 35 毫米原對話、音樂及音 效磁帶重新混音。HD digitally restored version created from a 35mm interpositive. The original monaural soundtrack was remastered from the 35mm DME magnetic track. 德格拉斯薛克 Douglas Sirk（1897－1987） 美籍德裔導演，在荷里活創作了多套以女性敘事為中心的通俗 劇而聞名。他透過豐富的場面調度，準確地詮釋及審視五十年 代守舊社會下的女性議題。 German-born American director Douglas Sirk was best known for his women-centred Hollywood melodramas. The richness of his mise-en-scène portrayed and examined the social pressures of women in the 1950s. 年輕富豪於老父離世後過着縱情享樂的生活，在小鎮 遇上撞船意外，幸運獲救卻連累了一條人命。他接 近死者遺孀想補救前非，反而為她帶來更多不幸。 擅長描繪淒美愛情關係的薛克重拍尊史多露執導的 《緣定三生》（ 1935 ），將故事背景設定在經濟騰飛 的美國，採用當時得令的特藝彩色四號攝製技術，影 像的色彩瑰麗奪目，導演以斑爛的湖光山色和五十年 代盛行的物質至上的生活作電影基調，不論潮流服 飾、新型跑車、豪華洋房、精緻擺設甚至一燈一瓦都 含有獨特隱喻；電影甫開始便出現的死亡陰影始終揮 之不去，唯有活在當下才是眾人奉若圭臬的信念。 14.02.2020（五 Fri）19:40 BC

35

A remake of John M. Stahl’s 1935 drama film adaptation of the novel of the same name, Sirk’s signature tragic romance is set in the economically booming America. Rescued in a speedboat accident in a small town, a spoiled playboy inadvertently causes the death of a medical doctor. To make amends he approaches the doctor’s widow, only to bring her even more misery.

亞洲早期彩色電影 Early Colour Films in Asia 15.02.2020（六 Sat）17:15 BC 同場放映《夏子之冒險》

Staff from IMAGICA and IMAGICA West in Japan scanned the severely damaged print on site at Moscow, produced a 4K version and devised a new method of digital restoration by applying an innovative system of Look Up Tables that analysed photochemical simulations data to identify colour that cannot be expressed in a two-colour system and keep that range from being picked up in colour grading, so as to retrieve the colour of the film.

Screening with Natsuko’s Adventure in Hokkaido

CINECOLOR 與眾多雙色技術一樣都是分開紅、 綠兩色底片記錄影像，其特別之處 是以「雙疊片」（藥膜對藥膜）的 方式拍攝和沖印。 Just like other two-colour processes, Cinecolor used two separate films to record red or green aspects; this process was special in that the two films were used in ‘bi-pack’, i.e. the two films were placed emulsion to emulsion. 千人針 THE THOUSAND-STITCH BELT 日本 Japan｜1937｜Cinecolour｜20 分鐘 min （缺本Incomplete）｜日語 Japanese｜英文字幕 Eng subtitles 導演 Dir：三枝源次郎 Genjiro Saegusa 編劇 Scr：佃血秋 Chiaki Tsukuda 攝影 Cinematographer：漆山祐茂 Sukeshige Urushiyama 演員 Cast：福井松之助 Fukui Matsunosuke、瀧澤靜子 Shizuko Takizawa、橘昇子Tachibana Hoshiko 日本國家電影資料館館藏 Collection of National Film Archive of Japan 三枝源次郎 Genjiro Saegusa（1900－?） 電影導演兼編劇，與溝口健二同期任職於日活株式會社。他的作品 《特急三百英里》（1928）近年曾於歐洲各國放映，口碑甚佳。 Director and screenwriter Genjiro Saegusa was contemporary with Kenji Mizoguchi at Nikkatsu Studios. His rediscovered action film, Special Express: 300 Miles (1928), has been screened and well received across Europe over recent years. 世界大戰一觸即發，親兒／愛人被召入伍，母親和未婚妻 只能將連綿思念寄託在祖母編織的護身符上。本片拍攝於 中日戰爭爆發同年，是日本現存最早的有聲彩色電影，由 日本彩色電影先驅——大日本天然色映畫製作所利用美國 的 Cinecolor  雙色技術攝製，該公司亦是當時最先引進多色 沖印的日本公司。影片的硝酸片拷貝其後於俄羅斯電影資 料館尋回，可惜只餘下不足二十分鐘的片段。由於拷貝已 經嚴重損壞，影片先於當地掃瞄成 4K  數碼影像，來自日本 的 IMAGICA 和 IMAGICA West 修復所的人員，後來分析影片上 的光化學數據，開發出一套全新的查找表（Look Up Tables） 系統，將雙色技術無法捕捉的色彩排除後再調光，達致最接 近影片原來色彩的效果。 The senninbari, or one thousand-stitch belt, is a sash worn by Japanese soldiers in World War II as a momento of the endless longings of the women of their families who made them. Filmed in the same year as the Second Sino-Japanese War, The Thousand-Stitch Belt is the oldest surviving Japanese coloured sound film, made using the American Cinecolor two-colour system by the production company Dainihon tennenshoku eiga seisakujo (Greater Japan Natural Color Productions), a pioneer of colour cinema and the first company to adopt the Multicolor process in Japan. An incomplete, 20-minute nitrate colour positive was discovered at Moscow’s Gosfilmofond archive.

37

亞洲早期彩色電影 Early Colour Films in

Screening with The Thousand-Stitch Belt

After World War II, Fuji Photo Film Co. Ltd. developed and launched colour film stocks, with which the first Japanese natural colour features Carmen Comes Home (1951) and Natsuko’s Adventure in Hokkaido were produced by Shochiku; the latter has seldom been presented as its existing print is an incomplete one. Adapted from an early serial fiction by Yukio Mishima, it is a melodrama with women as subjects—a genre Nakamura was best at, with excellent representation of Mishima’s persevering characters. Born to a prestigious family, Natsuko is not impressed by any one of her suitors. Determined to spend her life serving god, she sets off to a convent in Hakodate, Hokkaido and meets along the way a young bear-hunter with whom she begins an adventure. A few scenes are missing in this print, one of which near the end is without a soundtrack; lines in the original script are inserted in these scenes to make up for these defects, which do not Asia

discount the film’s status as a valuable film capturing Hakodate in its glorious and vibrant colours.

夏子之冒險 NATSUKO’S ADVENTURE IN HOKKAIDO 日本 Japan｜1953｜彩色 Colour｜95 分鐘 min （缺本 Incomplete）｜DCP｜ 日語 Japanese｜英文字幕 Eng subtitles 導演 Dir：中村登 Noboru Nakamura 編劇 Scr：山內久 Hisashi Yamauchi 攝影 Cinematographer：生方敏夫 Toshio Ubukata 演員 Cast：角梨枝子 Rieko Sumi、若原雅夫 Masao Wakahara 僅存的底片和聲片以膠轉磁方式複製為高清數碼檔案，並於 2016 製成 DCP 格式。 The film was telecined in HD from the surviving negatives and soundtracks, before being encoded into DCP in 2016. 中村登 Noboru Nakamura（1913－1981） 生於東京，於東京帝國大學主修英國文學， 1936 年考入松竹 株式會社當助導，有機會與小津安二郎等導演合作，後擔任導 演，同期導演包括木下惠介。他共導演 82 部電影作品，多以女 性為主軸。 Born in Tokyo, Nakamura majored in English literature at Tokyo Imperial University. He began working as an assistant director for Shochiku Studios in 1936 under directors such as Yasujiro Ozu. Contemporary of Keisuke Kinoshita, he directed 82 films during his career and was known for female-centric narratives. 日本富士於戰後成功研發及推出彩色菲林，松竹於 1951年率先以此製作《卡門還鄉》，緊接拍攝《夏子 之冒險》。兩片同為日本最早期的天然彩色作品，後 者因現存拷貝的缺陷而比較少有機會作公開放映。故 事改編自三島由紀夫早期的連載小說，題材是中村登 最為擅長的女性通俗劇，亦完美呈現三島作品中角色 的不屈堅毅。夏子出身世家，身邊不乏追求者，然而 沒有一位能夠打動不甘平凡的她，心灰意冷下她毅然 出走北海道，打算到函館的修道院當修女。途中邂逅 一位要到深山殺熊的狩獵青年，得知來龍去脈後夏子 決定同行，開展前所未有的冒險。現存的拷貝部份畫 面已遺失，後段亦有一段戲有畫無聲，為填補內容， 這些部份加入了原劇本作字幕。雖然如此，電影以色 彩記錄了當時函館到札幌的景色，色彩鮮豔華麗，影 像異常珍貴。

15.02.2020（六 Sat）17:15 BC 同場放映《千人針》

Thavi Na Bangchang 又名 Marut，是舞台導演兼電影製作人。他的作品包括愛國電影 《潘泰諾華星》（1950）和通俗劇《Soa Krua Fah》（1953）。 作品《聖提維納》為泰國影史上首部獲得國際獎項的電影，由 於此片失傳多年，他於 1976 年再次重製此經典名作。 Also known as Marut, Thavi Na Bangchang was a stage director and filmmaker, who debuted with patriotic Pan Tai Norasingh (1950) and melodrama Soa Krua Fah (1953). His film Santi-Vina was the first Thai film awarded internationally, and later remade in 1976 as the film print were believed to be lost. 聖提維納 SANTI-VINA 泰國 Thailand｜1954｜彩色 Colour｜114 分鐘 min｜DCP｜泰語 Thai｜ 英文字幕 Eng subtitles 導演 Dir：Thavi Na Bangchang 故事 Story：Robert G. North 編劇 Scr：Thavi Na Bangchang、Vichit Kunavudhi 攝影 Cinematographer：R.D. Pestonji 演員 Cast：Poonpan Rangkhavorn、Rayvadi Siriwilai 泰國電影資料館館藏 Collection of Film Archive (Public Organization), Thailand 泰國首部以 35  毫米彩色菲林攝製的有聲劇情長片， 全片的攝影構圖唯美、色彩絢麗，在技術、美學和成 就上都有劃時代的突破。故事盲眼少年聖提和鄰家 女孩維納宿命般的愛情悲劇，帶有深厚泰國文化傳統 和濃烈宗教色彩，於亞太影展獲得最佳攝影和最佳美 術指導殊榮，更蒙泰王出席電影首映。原底片在六十 多年前寄送英國倫敦時報稱損毀，直至 2014  年泰國 電影資料館才在英國電影學院尋回底片和聲片及部份 修出片段，同時還發現了保存在中國電影資料館和俄 羅斯國家電影基金會的放映拷貝。意大利 L’Immagine Ritrovata  修復所的人員對比三地版本，決定採用中 國和俄羅斯保存的版本，重現原來影像。修復版本 於 2016 年入圍康城影展經典單元，是首部入圍的泰國 電影。

15.02.2020（六 Sat）19:35 BC

The restored version is selected to screen at the Cannes Classic section of the Cannes Film Festival in 2016, making it the first Thai film honoured in the category.

亞洲早期彩色電影

The first 35mm Thai feature sound film shot in colour, Santi-Vina was a revolutionary achievement in technology, art, and film history. Beautifully Early Colour Films in Asia shot in splendid colours, it tells the story of an impossible romance between the blind boy Santi and his village sweetheart Vina, with strong cultural and religious overtones. The film was awarded Best Cinematography and Best Art Direction at the 1954 Asia Pacific Film Festival, with the King of Thailand gracing the premiere. Report damaged over 60 years ago when delivered to the British Film Institute (BFI), the original negative and soundtrack negative, as well as part of the outtakes, were found in the BFI in 2014, and release prints were found in the China Film Archive and at the Gosfilmofond in Russia by Film Archive (Public Organization), Thailand. The film was restored using the prints found in China and Russia by L’Immagine Ritrovata laboratory.

現今的數碼技術越趨成熟，電影攝製和影像水平都有所提升，但 菲林卻仍然獲大致公認為質量最好的拍攝及放映媒體。再者，由 於數碼影像的放映格式、解像度和載體等每隔數年便會汰舊換 新，相對來說，菲林只要保存得宜，無疑可以把活動影像儲存得 最長久。目前，還有好些電影創作人孜孜不倦地以菲林拍攝電 影、動畫，以至各類流動影像。他們的作品影像優美，攝影手法 富實驗精神，在數碼攝錄機唾手可得的年代，尤其可貴。 今次介紹的製作人，是來自日本的蔦哲一郎，選映作品為從未 作海外放映的《夢之島》（ 2009 ）和較近期的短片《森林物語》 （ 2016 ）。導演 1984 年生於德島縣，東京工藝大學影像學院畢 業。大學時代，蔦哲一郎以菲林為製作基礎，學習沖印、剪接等 當代菲林創作 技術，實踐「電影和菲林同樣是 Film 」這個概念；當時他已經與 攝影師青木 穣 組成 Niko Niko Film ，常常佔用學校的 16  毫米攝影 器材。如果說其畢業作《夢之島》傾向復古，那麼他畢業後的首 部長片《祖谷物語》（ 2013 ）則是超越懷舊，個人風格亦逐漸成 型。《祖谷物語》片長近三小時，全 35 毫米菲林拍攝，以日本的 製作環境來說難度甚高，但憑着 Niko Niko Film 團隊的堅持，影片 非但完成拍攝，後來更入選國內外多個影展，獲得不少獎項。 菲林和數碼作為不同的創作媒介，其製作方式和作品所呈現的風 格和效果截然不同，選擇以菲林創作並非否定其他創作方法，反 而有助於重新探索影像作品的各種可能。 39

As state-of-the-art digital technologies progress towards fruition, the bar is also raised in terms of filmmaking and imaging standards. Yet, celluloid film is still largely agreed to be the medium of highest filming and screening qualities. Indeed, screening formats, resolution and carriers of digital images often get renewed and replaced every few years. Celluloid films, on the other hand, if properly preserved, can store moving images for an apparent longest length of time.

CONTEMPORARY CREATIVE WORKS ON CELLULOID

At the moment, a number of filmmakers still diligently create films, animations and all sorts of moving images using celluloid films. In this era where digital cameras are at our easy reach, their creative works are remarkably precious for their exquisite imageries and experimental filming styles. For this programme, may we introduce to you Director Tetsuichiro Tsuta from Japan and bring to the big screen Islands of Dreams for its overseas debut, as well as his more recent short, Forestry. Born in Tokushima prefecture in 1984, Tsuta graduated from Department of Imaging Art, Faculty of Arts, Tokyo Polytechnic University. In his university years, he acquired his film developing and editing skills on

the basis of celluloid filmmaking, trying to realise his belief of ‘movies and celluloid are both named “film”.’ It was also when Tetsuichiro cofounded Niko Niko Film with photographer Yutaka Aoki and had always borrowed the 16mm shooting equipment from the university.

While one might say that Tsuta’s graduation film, Islands of Dreams, carries a retro approach; The Tale of Iya (2013), his first feature film upon graduation, would then be considered beyond nostalgic, in which a character of his own gradually came into shape. Spanning nearly three hours, the piece was shot entirely on 35mm films, which is fairly impossible in the Japanese production scene. Thanks to the perseverance of the Niko Niko Film team, not only was the filming completed, the piece was later selected in various film festivals both nationally and internationally, garnering a few awards. Celluloid and digital filmmaking do not only differ in their creative media. The modes of production and the styles and effects represented in the resulting works are also noticeably distinct. Opting for celluloid filmmaking doesn’t mean to disprove otherwise, but is instead conducive to re-exploring all the possibilities of moving image works.

森林物語 FORESTRY 日本 Japan｜2016｜彩色 Colour｜30 分鐘 min｜數碼 Digital｜日語 Japanese｜ 中、英文字幕 Chi & Eng subtitles 導演 Dir：蔦哲一郎 Tetsuichiro Tsuta 編劇 Scr：蔦哲一郎 Tetsuichiro Tsuta、河村匡哉 Masaya Kawamura 攝影 Cinematographer：青木穣 Yutaka Aoki 天還未亮，深山小屋傳來鬧鐘響聲，年輕女林業從業員的一天由此展開。林業的工 作日常，從種植、伐木到木材加工，體力勞動之餘，更要向來參觀的學生作示範講 解。導演繼《祖谷物語》(2013)  後再以家鄉德島為背景，製作這部推廣當地林業的 「紀錄片」，敘事和題材平實中見驚喜，寄寓深長；結尾受日本民間神祇傳奇所啟 發，為影片添上魔幻色彩。全片以 35 毫米彩色菲林拍攝，與前作《祖谷物語》一 樣，導演在陡峭山間提着重甸甸的攝影器材，以菲林的質感傳遞家鄉怡人的山林遠 景，並記錄村民的大自然生活點滴，讓觀眾感受四國的鄉村風貌。 Beep!—The sound of the alarm clock in a mountain cottage breaks through dawn as the young forestry worker starts her usual day. Apart from the physical labour work such as planting, logging and timber processing, she also ought to demonstrate her work to students paying a visit. Another piece using his hometown, Tokushima prefecture, as the backdrop after The Tale of Iya (2013), Director Tsuta has produced this docudrama in promotion of the local forestry industry. Despite its matter-of-fact narration and simple subject matter, the film surprises us with its profound message behind and its mythical touch in the end as inspired by Japanese folklores. Shot solely on 35mm colour films, Forestry had the director hopping through the steepest slopes carrying heavy filming equipment, like what he also did for The Tale of Iya. Through the texture of celluloid films, he conveyed a sense of tranquility with mountain sceneries of his hometown in wide shots. The daily lives of the villagers in the countryside of Shikoku are also recorded. 16.02.2020（日 Sun）15:00 BC 同場放映《夢之島》Screening with Islands of Dreams *設映後談，講者蔦哲一郎，日語主講，粵語詮譯 Post-screening talk by Tetsuichiro Tsuta (In Japanese with Cantonese interpretation) 41

Post-screening talk by Tetsuichiro Tsuta (In Japanese with Cantonese interpretation)

Forestry *設映後談，講者蔦哲一郎，日語主講，粵語詮譯

Triggered by a criminal case of blowing off remote-controlled bombs in the mountains, Inspector Terayama begins investigating on serial terrorist attacks. Meanwhile, a youngster who always ponders around the river catches his attention. Later when Terayama figures the youngster is involved in the case, he becomes curious of his background and intention. As the truth unveils itself, Terayama has no choice but performing his police duties regardless of his sympathy for the Shot on 16mm black-and-white films, all the production procedures, which include shooting, developing, negatives editing, soundtrack negatives and copy duplication, are done exclusively by the director and his crew. The black-and-white effects have acted as a background on which the story unfolds, adding a distinctive tone of the Japanese New Wave Cinema; while the occasional and intentional mimicking of the early cinema montages have made the film rich and versatile in camera movements. Although the film will not be screened in its original format, the production team has digitised the 16mm print and inserted English subtitles, extending the life of the creative work itself. The film received the Audience Award at the 2019 PIA Film Festival. with

youngster…

夢之島 ISLANDS OF DREAMS 日本 Japan｜2009｜黑白 B&W｜83 分鐘 min｜數碼 Digital｜日語 Japanese｜ 中、英文字幕 Chi & Eng subtitles 導演 Dir：蔦哲一郎 Tetsuichiro Tsuta 攝影 Cinematographer：青木穣 Yutaka Aoki 因為山間發生了一宗試爆遙控炸彈案，警探寺山着手追查一個連環恐怖襲擊計劃。 與此同時，他遇上了一位時常獨自在河邊沉思的青年，暗感事有蹺蹊；及後發現青 年與事件有關，遂對其身世和動機心生好奇。知道真相後，寺山雖然對青年抱有無 限同情，卻又不得不履行自己的職責……影片以 16 毫米黑白菲林製作，從拍攝、沖 印、剪接底片、製作聲片到複印拷貝，都由導演及工作人員一手包辦。故事在黑白 菲林的影像效果映襯下，帶有日本新浪潮電影的格調，偶爾更刻意模仿早期電影的 蒙太奇手法，鏡頭運用豐富多變。是次放映縱未能播放原有格式，製作團隊將 16毫 米拷貝轉換成數碼檔案，並加上英文字幕，反延續了作品的壽命。影片獲 2009  年 PIA 影展觀眾大獎。

production

16.02.2020（日 Sun）15:00 BC 同場放映《森林物語》Screening

香港電影資料館場次 SCREENINGS AT HONG KONG FILM ARCHIVE (FA) 地址 Address：香港西灣河鯉景道 50 號 50 Lei King Road, Sai Wan Ho, Hong Kong HK$80 正價 Standard HK$64 60 歲或以上高齡人士、殘疾人士及看護人、全日制學生、同一次交易中購滿五 張或以上正價戲票 Senior citizens aged 60 or above, people with disabilities and the minder, full-time students, each purchase of 5 standard tickets or above 不設劃位 Free seating 購票方式 TICKETING 親臨各城市售票網售票處購票 Available at URBTIX outlets 網上購票 Internet Booking：www.urbtix.hk 信用卡電話購票 Credit Card Telephone Booking：2111 5999 流動應用程式購票：My URBTIX（Android / iPhone） 購票須知 TICKETING 百老匯電影中心場次 SCREENINGS AT BROADWAY CINEMATHEQUE (BC) 地址 Address：九龍油麻地眾坊街3號駿發花園 3 Public Square St, Yau Ma Tei, Kowloon HK$80 正價 Standard HK$64 小童、長者、學生及百老匯電影中心會員 Children, seniors, students and bc VIP member 購票方式 TICKETING 親臨百老匯電影中心票房及自動購票機購買 Available at the cinema box office and self-service ticketing machine 網上購票 Internet Booking：www.cinema.com.hk 電話購票 Telephone Booking：2388 3188 網上及電話購票，將會收取每張港幣 $8（星期一至五）或 $10（星期六、日及公眾假期）的手續費。 For online and telephone bookings, a handling fee of HK$8 (Mondays to Fridays) or HK$10 (weekends and public holidays) per ticket will be levied. 節目查詢 PROGRAMME ENQUIRIES 電話 Tel：6403 0720 電郵 Email：info@reeltoreel.org 網址 Website：reeltoreel.org 本宣傳刊物出版時，是次節目部份電影尚未獲電影、報刊及物品管理辦事處評列等級，如有電影被 列為三級，主辦單位將於網上公佈，敬請留意。 The Categories of all the films in the programme are not yet rated by the Office for Film, Newspaper and Article Administration at the time this booklet goes to print. If any films are classified as Category III, notice will be posted online. 退票安排 REFUND ARRANGEMENT 所有已出售的門票皆不能退款，亦不能更換其他放映之場次。如 18 歲以下人士於公佈電影被列為 三級前購票，或因節目更改或取消，持票人可由通知當日起至指定限期前申請退票。退票方式將 於 reeltoreel.org 公佈。 All tickets are non-refundable and non-exchangeable unless for any alteration or cancellation of screenings by the presenter, and ticket holder under 18 years of age who buy tickets before the announcement of a film is classified as Category III, ticket holders may get a refund during assigned period. Please refer to reeltoreel.org for refund procedures. 網上、流動購票應用程式或信用卡電話購票均收取每張港幣 $8 手續費，本地平郵每次交易收費港幣 $5，所有已繳付之手續費皆不設退款 Handling charges for Internet, mobile ticketing app or telephone booking is HK$8 per ticket, with HK$5 delivery charge per transaction for local delivery by regular mail. All handling charges collected are non-refundable 票務查詢 TICKETING ENQUIRIES 3761 6661 每日上午10 時至晚上 8 時 10am–8pm Daily 門票由 2019  年 12 月 30 日起發售 Tickets are available from 30 December 2019 43

日期 Date 時間 Time 百老匯電影中心 Broadway Cinematheque 香港電影資料館電影院 Cinema, Hong Kong Film Archive 31.01 （五）• Fri 19:35* 翩翩巴黎人 Les Parisiennes 馬戲奇藝六姐妹 The Six Sisters Dainef 幻法鬱金香 Het Tovertoneel 越過萬重山 Mills in Joy and Shadow 月球之旅 （又名：月球歷險記）A Trip to the Moon 非凡旅程 The Extraordinary Voyage 01.02 （六）• Sat 16:30 講座 Talk 早期彩色默片的保存和展示／數碼時代的電影資料館： Restoration and Presenting Silent Colour Films and the Digital Turn in Film Archiving 01.02 （六）• Sat 19:50 西廂記 Way Down West 02.02 （日）• Sun 14:00 歌場魅影 The Phantom of the Opera 06.02 （四）• Thu 19:30* 深閨疑雲 Suspect from Husband 07.02 （五）• Fri 19:30* 八千里路雲和月 Eight Thousand Li of Cloud and Moon 08.02 10:30 不敢跟你講 I Didn’t Dare to Tell You

日期 Date 時間 Time 百老匯電影中心 Broadway Cinematheque 香港電影資料館電影院 Cinema, Hong Kong Film Archive 08.02 （六）• Sat 14:30 疏離 Alienation 危險的青春 Dangerous Youth 08.02 （六）• Sat 16:15 講座 Talk 青春夢醒：從《危險的青春》談台語片的性別政治： Dangerous Youth: Gender Politics in Taiwanese-language Cinema 09.02 （日）• Sun 10:30 唐山阿嫂 China Wife 09.02 （日）• Sun 13:30 血染相思谷 Blood Stains the Valley of Love 09.02 （日）• Sun 16:00 椰林月 Moon Over Malaya 09.02 （日）• Sun 18:00 講座 Talk 「南洋三部曲」流露的創作想像與作者心象： Mind Expression of the Filmmakers’ in ‘Nanyang Trilogy’ 09.02 （日）• Sun 19:30* 好夫妻 A Good Couple 14.02 （五）• Fri 19:40 地老天荒不了情 Magnificent Obsession 15.02 （六）• Sat 17:15 千人針 The Thousand-Stitch Belt 夏子之冒險 Natsuko’s Adventure in Hokkaido 15.02 （六）• Sat 19:35 聖提維納 Santi-Vina 16.02 （日）• Sun 15:00* 森林物語 Forestry 夢之島 Islands of Dreams 45

音樂 X 電影 X 歷史 管弦樂團現場配樂的默片放映會電影誕生足足 120 變。效，除了見證着科技的進步，同時亦展現出人類生活和文化的演年，由只有畫面發展到今時今日的各種電腦特 RTRI  利卓別靈《大鬧溜冰場》（與香港社區藝術家管弦樂團首度合作，找來一代笑匠差 1916）及早期動畫《Cats in the Bag》 （ 1936 查詢：歡迎中學團體報名名額：每場名額100人，每間學校最多（2020.02.28費用：每位學生地點：香港電影資料館一樓電影院時間：14:00日期：首場辦兩場獨一無二的放映會，重現百年前的電影藝術欣賞體驗。）的十六毫米影片拷貝，加上現場演奏配樂，一連兩日舉2020.04.15（三）次場2020.04.16（四）–16:30HK$25，隨行老師費用全免前報名，每位學生只需HK$18）20人 6403 reeltoreel.orgedu.rtrihk@gmail.com4035

策劃及統籌 CURATORS & COORDINATORS 龔秋曦 Aki Kung、羅海珊 Janis Law 「中港新台珍藏與修復」策展人 CURATOR OF ‘LOST GEMS AND RESTORED CLASSICS FROM CHINA, HONG KONG, SINGAPORE AND TAIWAN’ 劉嶔 Lau Yam 宣傳及嘉賓接待 PROMOTION & HOSPITALITY Emi Chan 翻譯 TRANSLATORS 羅鍵鏘 Francisco Lo、梁煥茵 Erica Leung、杜蘊思 Vinci To 平面設計及排版 DESIGN & ILLUSTRATION 劉倩勤 Sadie Lau 主辦單位有權更改節目資料及時間，最新資訊請留意網上公佈。 All programmes are subject to change, updated information will be available on our website. 本節目為「REEL TO REEL 電影文化保育及教育計劃」項目之一 This programme is part of the ‘Reel to Reel Film Heritage Preservation and Education Project’ 節目團隊 PROGRAMMING TEAM 鳴謝 ACKNOWLEDGEMENTS Dr. Giovanna Fossati Mr. Davide Pozzi 王君琦博士 江千慧小姐 馮嘉琪小姐 趙向陽女士 蔦哲一郎先生 鄭子宏先生 黎民偉子女 羅卡先生 mk2 films Niko Niko Film Park Circus 康樂及文化事務署香港電影資料館 47

REEL TO REEL INSTITUTE 流動影像收藏與保存的工作開展已久，但至今牽涉的工作量仍極為龐大，需要相當 的資源來輔助。香港在搜集渠道以至藏品對外開放方面仍有不少限制，亦缺乏資源 關注劇情片種以外之流動影像的收藏與保存。目前亞洲地區如日本、台灣和新加 坡均有不少由民間發起的團體以不同的面向保育視聽遺產，填補現有的不足和缺 陷。REEL TO REEL INSTITUTE 由數名從事電影保存與修復及相關節目的人士成立，旨 在借鑑上述地區組織的經驗，推廣及籌辦有關視聽遺產保育之活動，拓展觀眾羣； 支持本地及亞洲影像作品之研究、保存、修復與收藏，尤重視短片、動畫、實驗、 紀錄、音樂錄影帶、家庭錄像、廣告及電視節目等不同類型的創作；與不同團體合 作，確保被忽視的重要視聽遺產得到應有保護，同時促進本地電影工作者在流動影 像收藏、展示與保存方面的專業培訓。 With the long history of moving image collection and preservation, materials await handling are still vast, though much-needed resources for these efforts are limited. In Hong Kong we face great obstacles in collecting these materials and presenting restored works to the public, and little light is shed on the collection and preservation of moving images besides feature films. In Asia, a number of community organisations, for instance those in Japan, Taiwan and Singapore have been founded to contribute to various aspects of audio-visual heritage preservation, complementing existing efforts in this regard. Founded by practitioners of film restoration and programming, Reel to Reel Institute sets out to learn from the experience of these regional counterparts in our efforts to promote preservation of audio-visual heritage and expand the audience base with activities; support research on, and preservation, restoration and collection of local and regional moving image works, in particular shorts, experimental films, documentaries, music videos, home videos, commercials and television programmes; partner with different organisations ensuring that overlooked but important historical audio-visual works receive the proper treatment they deserve, and facilitate skill development for local film practitioners in moving image collection, exhibition and preservation. REEL TO REEL INSTITUTE 成員 MEMBERS OF RTRI 羅海珊 Janis Law 龔秋曦 Aki Kung 劉文雪 Gladys Lau 劉嶔 Lau Yam