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。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。

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 today. 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 carry.

It is the 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.