「你不屬於 來自印度的移動影像」邀得印度著名電影史家阿 希什•拉賈德雅克薩先生擔任策展人，展出多部印度當代的獨立 劇情片、紀錄片和實驗影像，探索流動影像在印度這個「世界最 大的電影生產國」的角色，並特邀是次策展人、華裔印度學者梁 日明，以及兩位印度導演來港舉行研討會，試圖向觀眾展示印度 電影紛繁的實驗面貌。 “You Don’t Belong Moving Images from India” has invited renowned Indian film scholar Ashish Rajadhyaksha to curate a full range of work of the recent Indian cinema, specially selected and assembled, to make an argument about the moving images in India. The selection includes feature-length fiction films, documentaries, and experimental videos, which helps us understand the film scene in India, the “largest country of film production”. We are honoured to present a seminar held by Ashish (curator), Lawrence Liang (Chinese Indian researcher), and two Indian directors alongside with the screenings.
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策展人陳述 印度之影像
阿希什·拉賈德雅克薩 這系列影片之總名為「你不屬於 來自印度的移動影像」，是我們特意揀選的，從主流商業劇情片到實驗錄像電影， 從資金雄厚的紀錄片到成本低微的製作都有，意在引起大家爭論。 為甚麼印度拍了這麼多影片？看統計數字，從一九二零年代末起，印度本土拍的電影就超過從外國輸入的電影，到了一九 七一年，印度已成為世界上最大製作流動影像的國家。因此，印度對流動影像的超額生產（其中大多數印度片的賣座率不 足15%），在當今數碼影像澎湃生產之前早就出現了；因此在文化意義生產的計劃經濟體系內，為甚麼印度要生產這麼多 影片，這在當今數碼革命發生之前，早就是一個重要的問題了。 透過是次影展，各位導演為這問題提供了各式答案。這邊廂，《禁止吸煙》的導演阿努拉格•卡沙普索性在這數碼時代重 新界定荷里活的時空坐標，而該影片所採用關於恐懼的詩學，完全顛覆了主流電影說故事的方式及其現行的做法。而另一 邊廂，獨立錄像導演基然•蘇拜亞，他的作品《自殺筆記》就主要通過容許torrent下載，及由他將之放上youtube，來尋找 全新的活動影像放映及製作渠道。而在這兩個極端之間，當然就是獨立紀錄片了。但在這裡我們也看見兩種極端：一方面 是桑賈伊·卡克的大製作《我們如何歡慶自由》，以世上民族分裂最嚴重的地區喀什米爾為背景，現場拍攝，具有史詩般 的格局；而另一方面，帕羅米塔•沃赫拉的《道德電視和愛的聖戰》則是一部滑稽刁鑽的影片，將底層生活、普及文化、 大眾傳媒交織成一支恐怖殘忍的舞。 回顧二十年前的經驗，不無用處。那時候，只能在大城市的各大戲院上映你的電影，換言之，你得想辦法克服充滿臺底交 易的發行制度。而印度政府是當時唯一拍攝紀錄片的機構。這次我們放映的開幕電影，雖然由政府官方電影部門製作，卻 成了印度首位真正前衛導演的里程作品：馬尼•考爾導演的鉅作《希德什瓦里》。影片融合虛構劇情和現實錄像，預示了 他日後二十年的電影技法。我們所放映的底片，曾因電影部門處理不善而有破損，後來由影片的攝影師皮亞什•沙阿，僅 憑業餘條件精心修復完成，令膠片版本重新煥發出原先錄像作品的生命力。本片在考爾一生創造力最旺盛的時期拍攝，稱 得上是印度前衛導演的典範之作。 考爾的高足阿米特•杜塔，從乃師身上學到很多本事。他住在印度北部城市查謨，主要根據藝術史家布彭德拉•納特•戈 斯瓦米在一九九七年的名著《古勒的奈恩蘇克，來自小山邦的偉大印度畫家》，拍成這部不同凡響的傳紀片，描述十八世 紀帕哈里地方的細密畫畫家奈恩蘇克的生平事蹟。影片就是由這位年輕前衛導演跟藝術史家戈斯瓦米合作而成，戈斯瓦米 還親自從奈恩蘇克的自傳隨筆中讀出一些段落。他倆從近百幅畫作出發，塑造出這位活在拉賈•巴爾萬特•辛格王朝內的 畫家兼宮廷侍臣的生平，並刻劃出他對生活的精密觀察。 至於《家庭掠影》和《你不屬於》這兩部紀錄片，可說是我們暫且名之為新紀錄片的代表作：兩部片都是由專業導演拍 攝，而個人色彩極濃的作品。第一部片是阿維吉特·穆庫爾·基肖爾雙親的動人故事，尤其講述母親的部份，更是攝影 機進入家庭隱私的極致之作，完全從內心開發個人空間。而第二部片，斯帕丹‧班納吉導演的《你不屬於》，則是一首看 似「傳統」的民謠《你不屬於》，竟成了熱門歌曲，經常在唱片店和電視台播放。這首歌曲由孟加拉獨立流行曲樂隊「大 地樂隊」演唱，後來被人翻唱出無數版本。唱片公司卻說這是傳統民歌，不受版權限制。但原來這首歌和許多印度創作歌 曲一樣，並非傳統作品，而是阿倫•查克拉博蒂寫的現代詩，而且作曲的帕班•達斯現在還居住於法國。於是記憶、版權 法、家和移民的觀念，都融入了這首歌如何從社會邊緣進入都市主流的故事。 跟《禁止吸煙》一樣，迪巴卡爾•班納吉拍的《愛、性和欺騙》，也是這次影展的主流劇情片。雖然是劇情片，其拍攝方 式卻和這次放映的紀錄片有幾方面互相呼應。影片對監控攝錄機的探索，構成了各種私人生活空間的陰暗一面，也正是紀 錄片要探索的地方。而其中講述一名年輕導演無意間用攝影機錄下了自己的死亡，也道出了數碼活動影像已在我們周圍無 孔不入。 最後是一部孟加拉電影《聚居地的春天》，由印度著名電影理論家拍攝，講述現代加爾各答的故事。影片分為三部份：背 景分別是──套用城中常用的術語──昔日的「黑城」（南加爾各答的一片難民聚居地）、加爾各答市中心的「白城」， 以及過去十年中主要的城市開發區「新城」。故事敘述難民聚居地由於新來了許多地產大鱷而改頭換面。影片幾乎從一開 始就荒誕不經。主要角色有一對賊、一夥由邦內當權的左翼政黨所控制的無恥政客、一個目光遠大的地產發展商。
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Curator’s Statement MOVING IMAGES FROM INDIA Ashish Rajadhyaksha
The present set of films,“You Don’t Belong Moving Images from India”, have been provocatively selected to extend from mainstream commercial features to experimental video, from high-end documentary cinema to films made literally with nothing. Why does India make the number of films it does? Statistically, India started making more films than it imported from the late 1920s on, and in 1971 became the world’s largest maker of moving images. Indian overproduction of the moving image (the commercial success rate of most Indian film industries is less than 15%) therefore long precedes the current explosion of digital moving-image content. And therefore also, the question of why within an overdetermined economy of cultural meaning-production it becomes important for a place like India to make so many films also long precedes the current digital revolution. This festival provides a plethora of answers, from the filmmakers themselves. On the one extreme, a filmmaker like Anuraag Kashyap (No Smoking) virtually redefines, in the digital era, the time-space coordinates of Bollywood with a poetics on terror that completely transforms the very purpose of mainstream storytelling practices and what they can now do. On the other extreme, an independent videomaker like Kiran Subbaiah (Suicide Note), who shows his films mainly through allowing torrent downloads and putting his material on youtube, is finding radically new avenues to both show and make moving images. In between these two extremes is of course the independent documentary. Again we have extremes here. On one hand there is Sanjay Kak, attempting the epic mode with his mammoth landmark Jashn-E-Azadi: How We Celebrate Our Freedom, set and shot in one of the most divided regions on earth, the valley of Kashmir. On the other, Paromita Vohra’s sly, funny, movies of low life, popular culture and mass media intertwined in a grisly dance (Morality TV and the Loving Jehad: A Thrilling Tale). It is salutary to recall that less than two decades ago, you could only release a film in a mainstream theatre in the city, which meant overcoming the tyranny of a grey-market distribution system. And the government of India was the only agency making documentary films. The present package of films is in fact inaugurated by a film made by one such governmental, agency, Films Division, but went on to become a landmark work by India’s first truly avant garde filmmaker, Mani Kaul: his epic Siddheshwari. The film, bringing together celluloid fiction alongside video, astonishingly presages practices that were to follow two decades after the film was made. The print we have, damaged through mishandling by Films Division, was painstakingly restored by the original cinematographer, Piyush Shah, under amateur conditions, to – I propose here – give the celluloid version a new lease of life as a video work. Siddheshwari remains in many ways the iconic avant-garde Indian film, made at a particularly fertile period in Kaul’s own life. We move from there to one of Kaul’s leading students, Amit Dutta, who has been very much carrying the lessons he learnt from the master. Dutta lives in Jammu, and has made this extraordinary biopic on the 18th Century Pahari miniaturist Nainsukh, derived mainly from art historian B.N. Goswami’s famous 1997 book on the subject (Nainsukh of Guler, A Great Indian Painter from a Small Hill-State). The film, a collaboration between Goswami, who personally reads out from Nainsukh’s own autobiographical jottings, and a young avant-garde filmmaker, works from the paintings themselves to carve out a life of a painter, a courtier and an observer of life in the Pahari court of Raja Balwant Singh. Both the documentaries Snapshots from a Family Album and You Don’t Belong are in their own ways typical of what we might momentarily call the new documentary: in both instances, professional filmmakers have made something intensely personal. Kishore’s loving story of his parents, and especially his mother, is a landmark instance of the domestication of the camera, as it turns inwards, into the space of the personal. The second film is about an apparently “traditional” Baul song, Lal pahari deshe, which went on to become a major recording hit, in the records shops and on television. Sung by the BangIa Indipop group called Bhoomi, it was widely reproduced in numerous cover versions. The records companies claimed that this was a traditional song and therefore beyond copyright. As happens with many Indian productions, it turns out to be anything but traditional: it was a modern poem by Arun Chakraborty, and composed by Paban Das Baul, who now lives, of all places, in France. And so memory, copyright law, the concept of home and of migration, all come together to tell the career of a song from the margins into the urban mainstream. Along with No Smoking, Love Sex Aur Dhokha (or LSD) is the other mainstream feature film in this package. LSD, though a fiction film, talks to the several documentary practices that have also been included here. Its exploration of the spycam constitutes the nether underside of the spaces of domesticity into which the documentary enters; its saga of a young filmmaker accidentally filming his own death also talks to the ubiquity of the digital moving image all around us. And lastly, the Bengali film Sthaniya Sangbaad (translatred into English as Spring in the Colony), a feature by one of India’s leading film theorists, tells the story of modern Calcutta. The film is in three parts, set in to use commonly accepted terms in the city the former “black town”, the refugee colony of South Calcutta, the “white town” of central Calcutta and the “new town” of major urban development in the past decade. The story sees the refugee colony transform through the entry of new real estate sharks. The film moves into the dimension of the absurd from almost the beginning. Key characters include a pair of thieves, touts belonging to the ruling left political party of the state, and a visionary realestate developer.
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香港藝術中心 HONG KONG ARTS CENTRE agnès b. CINEMA
希德什瓦里 / Siddheshwari 日期及時間 / Date & Time: 27/10 2:30pm 印度 / India / 1989 / 彩色 / Col / HD / 89mins 印地語對白，英文、簡體中文字幕 In Hindi with English & Simplified Chinese Subtitles 導演：馬尼．考爾 / Director: Mani Kaul
票價 / Ticket: $60/45*
設映後座談會，講者為策展人阿希什‧拉賈德雅克薩，英語主講。 Post-screening Discussion will be held by curator Ashish Rajadhyaksha. Conducted in English. 一九八九年印度國家電影獎最佳紀錄片，亦是印度前衛電 影的標誌性作品。馬尼‧考爾──電影大師馬希仕．考爾 的姪兒，二十五歲首次執導，已拍出公認為「印度電影新 浪潮的重要作品」。他身兼電影學院教授，畢生追求純粹 的藝術形式。本片是他其中一部最著名的紀錄片作品，虛 實交錯，追溯貝勒拿斯樂派古典圖穆里歌手希德什瓦里‧ 黛維的傳奇一生。詩意串連流動的意像，隱喻無處不在。 It is a remarkable avant-garde Indian film, awarded the National Film Award (Best Documentary) in 1989. Mani Kaul, nephew of Indian film master Mahesh Kaul, directed “one of the key films of the New Indian Cinema or the Indian New Wave” at the age of twenty-five. Also as a professor in film schools, he took fine art house films as his life time pursuit. This is one of his most important poetic documentaries, which tracks the life of Siddheshwari Davi, a classical thumri singer of the Benares school.
奈恩蘇克+SAA / Nainsukh+SAA 奈恩蘇克 /Nainsukh 印度 / India / 2010 / 彩色 / Col / HD / 82mins 道格里語對白，英文、簡體中文字幕 In Dogri with English & Simplified Chinese Subtitles 導演：阿米特．杜塔 / Director: Amit Dutta
二零一一年威尼斯影展地平線單元入選作品。 十八世紀著 名細密畫畫家奈恩蘇克的傳記電影：奈恩蘇克自小與兄長 接受父親的繪畫薰陶，三十歲受邀前往賈斯羅達為拉賈‧ 巴爾萬特‧辛格宮廷作畫。導演找來當代傑出細密畫畫家 馬尼什‧素尼飾演主角，沿著奈恩蘇克當年的旅程，以影 像重塑其精緻畫作，引領觀眾進入一段漫長的冥思。 This film is selected into the Horizons Section of Venice International Film Festival in 2011. Biopic on the 18th Century Pahari miniaturist Nainsukh, the son of the respected Pandit Seu and brother of the steadfast Manaku. At the age of thirty, Nainsukh was invited by Raja Zorawar Singh to serve at his castle in Jasrota. The role of Nainsukh is played by Manish Soni, a renowned contemporary miniature painter. He leads audiences into a meditative experience by re-presenting Nainsukh’s artwork along his journey to Jasrota.
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日期及時間 / Date & Time: 27/10 5:30pm 票價 / Ticket: $60/45*
香港藝術中心 HONG KONG ARTS CENTRE agnès b. CINEMA
SAA 印度 / India / 1991 / 彩色 / Col / HD / 25mins 無對白 / No Dialogue 導演：R.V. 拉馬尼 / Director: R.V. Ramani
本片是印度實驗影像創始人拉馬尼的先鋒代表作，他與知 名錄音師維克拉姆‧喬彩合作，刻意訓練自己傾聽置身其 中的孟買城市聲音和那些分佈於大街小巷裡的生活細節： 一個男人在火車上高歌、眾人跳舞慶祝撒紅節，以及象神 誕辰日等等。影片以黑色電影的姿態，描繪一種爆炸性的 城市大眾文化破裂隙而出。 Pioneering major work by a man whom many would consider the founder of experimental video in India, a collaboration with the well known sound recordist Vikram Joglekar, and it is significant that they train their attention to what is all around them in the city of Mumbai. A man sings in the local train, people dance celebrating the Holi festival and the Ganesha festival… In many ways it is a dark film, sometimes depicting an explosive urban popular culture bursting at the seams.
家庭掠影 + 你不屬於 Snapshots from a Family Album + You Don’t Belong
日期及時間 / Date & Time: 28/10 2:30pm
家庭掠影 / Snapshots from a Family Album
票價 / Ticket: $60/45*
印度 / India / 2004 / 彩色 / Col / HD / 63mins 英語、印地語、馬拉地語對白，英文、簡體中文字幕 / In English, Hindi & Marathi with English & Simplified Chinese Subtitles 導演：阿維吉特．穆庫爾．基肖爾 / Director: Avijit Mukul Kishore
阿維吉特由攝影師起家，擁有豐富的紀錄片及劇情片拍攝 經驗。首次執導，一於把鏡頭對準父母，花五年時間重新 理解自己與父母的關係。身穿運動短褲的導演不時入鏡， 母親略露疲態，側躺床上叫兒子不要拍這些無聊的片段。 家庭錄像的親密凝視，與本影展另一部作品《愛、性和欺 騙》的侵犯視角，恰成強烈對比。 Avijit Mukul Kishore started his film career as a cameraman, highly experienced in shooting both fictions and documentaries. In his first directing documentary, he spent five years to re-construct his life with his parents. The director appears in front of the camera casually in his boxer shorts, while his mother asks him not to waste time shooting an old woman lying in bed. As the cameraman takes his camera “home” and reveals a tender counterpart to the vicious and intrusive spycam that we will encounter in Diabakar Banerjee’s Love Sex Aur Dhokha in this festival, he brings to light another aspect of the documentary cinema’s concerns in India today.
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香港藝術中心 HONG KONG ARTS CENTRE agnès b. CINEMA
你不屬於 / You Don’t Belong
印度 / India / 2011 / 彩色 / Col / HD / 75mins 英語、孟加拉語對白，英文、簡體中文字幕 / In English & Bengali with English & Simplified Chinese Subtitles 導演：斯帕丹‧班納吉 / Director: Spandan Banerjee
幾年前，孟加拉民謠《你不屬於》一度高踞影音商店及電 視節目的音樂排行榜榜首。這首所謂的「傳統」歌曲，實 為一首現代詩，由某位旅居法國的歌手重新譜曲。記憶、 版權法、家庭與移民的觀念，集體講述這首歌曲從邊緣走 向都市主流的旅程。最值得注意的是，歌曲本身非常契合 當下世代的流離情感：前往那片你所屬於的土地吧，因為 這片土地並不屬於你。 A couple of years ago a “traditional”Baul song, Lal pahari deshe went on to become a major recording hit, in the records shops and on television. The records companies claimed that this was a traditional song, but in fact it was a modern poem by Arun Chakraborty, and composed by Paban Das Baul, who now lives in France. And so memory, copyright law, the concept of home and of migration, all come together to tell the career of a song from the margins into the urban mainstream. What is remarkable is the extraordinarily contemporary feeling that the song itself reproduces, that of banishment or exile: go to the land where you belong, for this land is not for you.
愛、性和欺騙 / Love, Sex Aur Dhokha 印度 / India / 2010 / 彩色 / Col / HD / 109 mins 印地語對白，英文及簡體中文字幕 / In Hindi with English & Simplified Chinese Subtitles 導演：迪巴卡爾．班納吉 / Director: Dibakar Banerjee
來自廣告界的迪巴卡爾，拍出印度首部全數碼拍攝的電 影，成就近年爆紅的票房奇蹟。三個獨立故事，全部由一 部闖入場景的攝錄機述起：二流電影學院畢業生愛上女主 角，最終被女友父親的打手殺死，並無意間用攝錄機紀錄 了自己的死亡；一位小職員想出在百貨商店安裝四台監控 攝錄機，以偷拍手法製作色情片；最後一個故事改編自印 度的真實醜聞，展現一個被電視真人秀和手機偷窺視頻所 驅動的世界。觀眾大嘆場景真實，盡顯現今數碼影像無孔 不入的特性。 Perhaps the best known of the independent features of recent years in India, Love Sex Aur Dhokha (LSD) also tells three intertwined stories. Each is however told through a camera that is an intruder to the scene. In the first story, a final year film student in a second rate film institute falls in love with his heroine, and unconsciously films his own death, as he is being killed by the henchmen of his girlfriend’s father. The second story is about an executive who installs four security cameras in a small 24-hour departmental store franchise, and hits on the idea of making a porn clip through them. The third short reflects a world driven by reality TV shows and voyeur cam clips on cell phones. LSD, though a fiction film, talks about the ubiquity of the digital moving images all around us.
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日期及時間 / Date & Time: 28/10 5:30pm 票價 / Ticket: $60/45*
香港藝術中心 HONG KONG ARTS CENTRE agnès b. CINEMA
禁止吸煙 / No Smoking
日期及時間 / Date & Time: 28/10 8pm
印度 / India / 2007 / 彩色 / Col / HD / 127mins 印地語對白，英文、簡體中文字幕 / In Hindi with English & Simplified Chinese Subtitles 導演：阿努拉格．卡沙普 / Director: Anuraag KashyapPost-screening
票價 / Ticket: $60/45*
Discussion will be held by curator Ashish Rajadhyaksha. Conducted in English. 廣告經理人K沉溺於煙癮，為求戒煙，走進一條沒有出口 的通道……影片承襲了卡沙普對於制度化的恐懼主義，以 及為主人公設下巨大迷團的敘事方式。驟看以為是荷里活 式的俊俏主角、明快剪接，配搭微電影風格的場景調度， 原來卻是一部探討集權主義和新經濟的迷幻電影！擺明車 馬挑戰類型電影，逼使觀影者重新界定院線影片的定義。 The advertising executive K, played by movie star John Abraham, is addicted to cigarettes, but in order to give up smoking he comes up against a totalitarian underground infrastructure from which he cannot exit. The film continues Kashyap’s fascination with institutionalised terrorism, and an exploration of a story too large in all its ramifications for its protagonist to comprehend. Apparently shot in Hollywood-style cinematography, it is in fact a hallucinatory saga about totalitarianism and the new economy, which ambitiously challenges standardised film genres.
我們如何歡慶自由 Jashn-E-Azadi ; How We Celebrate Our Freedom
日期及時間 / Date & Time: 29/10 7:30pm
印度 / India / 2007 / 彩色 / Col / HD / 139mins 喀什米爾語對白，英文、簡體中文字幕 / In Kashmiri with English & Simplified Chinese Subtitles 導演：桑賈伊．卡克 / Director: Sanjay Kak
票價 / Ticket: $60/45*
這部有關「獨立印度」的證詞電影，以印度獨立日展開序 幕。喀什米爾經歷了將近二十年武裝衝突，六萬人死亡， 近七千人失蹤。卡克用真實的鏡頭、詩歌和文字，與《秋 日的最後國度》同樣提出了一個重大的問題：紀錄片在極 端不穩定條件下的作用是甚麼？翻遍墓地及褪色照片，人 們前仆後繼地尋找歷史，除了純粹記錄之外，是不是也是 一種贖罪，甚或是哀悼？ Kak’s stunning testimony to the concept of independent India begins on Independence Day. Kashmir has suffered an armed struggle for nearly two decades now, with 60,000 dead and nearly 7,000 missing. Kak uses verité footage, poetry, and text to make his film. Kak’s film throws open the larger question, central also to Sonia Jabbar’s Autumn’s Final Country, about the role of documentary cinema in conditions of extreme instability. People have incessant tendency to find history somehow, somewhere, in graveyards as much as in faded prints of people who are now dead or missing. Is there an act of atonement, of mourning even, in the mere act of documentation?
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香港藝術中心 HONG KONG ARTS CENTRE agnès b. CINEMA
聚居地的春天 / Spring in the Colony (Sthaniya Sangbaad)
日期及時間 / Date & Time: 30/10 7:30pm
印度 / India / 2010 / 彩色 / Col / HD / 106mins 孟加拉語對白，英文、簡體中文字幕 / In Bengali with English & Simplified Chinese Subtitles 導演：阿爾瓊．古里薩里、穆依納克．比斯瓦 / Director: Arjun Gourisaria, Moinak Biswas
票價 / Ticket: $60/45*
印度著名電影理論家的出色劇情片作品。影片分為三個背 景：南加爾各答的難民聚居地「黑城」，加爾各答市中心 的「白城」，以及過去十年的城市開發區「新城」。故事 講述房地產大鱷入侵，造成聚居地的變遷。一對竊賊、左 翼政黨的攬客者，以及一個富有遠見的房地產開發商，隨 著詩人阿汀與其老師的對話發展，構成荒唐的城市空間與 維度。 Remarkable feature by one of India’s leading film theorists. The film is in three parts, set in the former “black town”, the refugee colony of South Calcutta, the “white town” of central Calcutta and the “new town” of major urban development in the past decade. The story sees the refugee colony transform through the entry of new real estate sharks. It is told through its main protagonist, Atin, a poet, who converses with his only confidant and teacher . The film moves into the dimension of the absurd from almost the beginning. Key characters include a pair of thieves, touts belonging to the ruling left political party of the state, and a visionary realestate developer. 香港藝術中心 agnes b. 電影院大堂 HONG KONG ARTS CENTRE agnes b. CINEMA FOYER
旋轉 / Turning 印度 / India / 2008 / 彩色 / Col / DVD / 14mins 無對白 / No Dialogue 導演：維萬．桑達拉姆 / Director: Vivan Sundaram
以廢棄物搭建的垃圾之城，是導演以垃圾為題的多媒體展 覽的作品之一。玩具老鷹在垃圾砌成的大樓、公路及鐵道 上空展翅盤旋，見證一座城市的建成與瓦解。 A city of waste built by urban garbage, the installation in the video is a part of the director’s multimedia exhibition on trash. A toy eagle flying over crap towers, highways, and metro rails, witnesses the city being built and trashed.
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免費入場 Free Admission
香港藝術中心 agnes b. 電影院大堂 HONG KONG ARTS CENTRE agnes b. CINEMA FOYER
免費入場 Free Admission
漂浮 / Flotage 印度 / India / 2008 / 彩色 / Col / DVD / 8mins 無對白 / No Dialogue 導演：維萬．桑達拉姆 / Director: Vivan Sundaram
以膠樽作浮舟，橫渡受污染的河流。這是導演為城市藝術 計劃創作的公共藝術作品，透過將垃圾組合、應用和解 體，呈現廢棄物再生與再廢棄的過程。 A raft that made of plastic water bottles floats across a polluted river. This is a public artwork that the director created for an urban arts project. The trash is given a new form and then once again destroyed. The work reflects the life cycle of the discarded being regenerated and re-discarded.
巴黎秋日 / Paris Autumn 印度 / India / 2006 / 黑白 / B&W / DVD / 33mins 無對白，英文、簡體中文間場字幕 / No Dialogue with English & Simplified Chinese Intertitles 導演：普什帕瑪拉．N / Director: Pushpamala N
黑白照片加上字幕，組成一部黑色電影風格的錄像作品。 身兼主角的導演在巴黎租住一間老房子，逐漸梳理一個十 六世紀女子的悲劇故事，歌德式驚慄電影由此展開。 Comprising black and white photographs with inserts of text panels, the video is a work of fiction in the style of classic noir. The director/performer rents a room in an old apartment in Paris and encounters a haunting story of a 16th Century tragic woman. A gothic thriller begins.
吃石頭的人 / Man Eats Rock 印度 / India / 2011 / 彩色 / Col / DVD / 22mins 無對白 / No Dialogue 導演：尼基．喬普拉、穆尼爾．卡巴尼 / Director: Nikhil Chopra, Munir Kabani
錄像作品描繪出三個世界：一個赤裸的原始人、一群衣冠 楚楚的男女、一個跳舞的女子。人類屈服於消費的需求和 慾望，此作正要質疑我們在這個星球的位置。 The video is set in three communities: a naked primate, a group of elaborately costumed men and women, and a dancing woman. The work attempts to question our place on this planet, as we get subsumed by our need and desire to consume.
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香港藝術中心 agnes b. 電影院大堂 HONG KONG ARTS CENTRE agnes b. CINEMA FOYER
歷史是一部默片 / History Is a Silent Film
印度 /India /2006 /黑白 /B&W /DVD /18mins 無對白，英文、簡體中文字幕 /No Dialogue with English & Simplified Chinese Subtitles 導演：K．M．馬杜蘇丹南 /Director: K. M. Madhusudhanan
一個電影放映機修理員娓娓道來關於失去的故事。膠片電 影被淘汰，他的行業漸漸式微。電影嘗試把種種的失去， 與舊區和至親的消亡並置連繫。 A story of loss narrated by a celluloid film projector repairer. The film links the decline of his profession with the demise of celluloid film, and thence the loss of near and dear ones.
剃刀、血和其他故事 Razor, Blood and Other Tales
印度 / India / 2009 / 彩色 / Col / DVD / 7mins 無對白 / No Dialogue 導演：K．M．馬杜蘇丹南 / Director: K.M. Madhusudhanan
一個理髮師，一個前革命者的故事。某天，隨著一名退休 警官的光顧，一段幻想中的復仇狂想打破已蓋棺論定的歷 史，在小店內悄然上演。 A story of a barber and an ex-revolutionary. One day, a retired policeman enters his barber shop for a shave. An imagined revenge becomes a phantasy disrupting settled history.
給象頭神的獻祭 Vakratunda Swaha 印度 /India /2010 /彩色 /Col /DVD /21mins 無對白 /No Dialogue 導演：阿希什．阿維昆塔克 /Director: Ashish Avikunthak
一九九七年，導演拍下友人將一座象頭神像浸進海灘的畫 面。一年後，友人自殺。十二年後，導演將這組場景拍成 電影，作為獻給逝者的安魂曲。反覆的剃頭儀式和戴著毒 氣面具的象頭神象徵，將影片的意義無限伸延。 In 1997, the director filmed a sequence of his friend immersing an idol of Ganesha at Chowpati beach. A year later, his friend committed suicide. Using the footage as the leitmotif, the director completed the film after twelve years. With repeated ritual of tonsuring and images of Ganesha with gas mask, the work seeks to extend beyond a requiem to a dead friend.
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免費入場 Free Admission
香港藝術中心麥高利小劇場 HONG KONG ARTS CENTRE McAulay Studio 免費入場，座位有限，先到先得。 Free Admission. Limited Seats Available. First-come-first-served.
研討會/Seminar
來自印度的流動影像：全球最大電影生產國提出的新問題 Moving Images from India : Raising New Questions from the World’s Largest Filmmaking Country
日期及時間 / Date & Time: 31/10 7:30pm 講者：阿希什‧拉賈德雅克薩（策展人）、梁日明（華裔印度學者）、阿維吉特‧穆庫爾‧基肖爾（《家庭掠影》導演）、 蘇拉比‧夏爾馬（《加哈吉音樂》導演 ） Speakers: Ashish Rajadhyaksha (Curator), Lawrence Liang (Chinese Indian Researcher), Avijit Mukul Kishore (Director of Snapshots From a Family Album), Surabhi Sharma (Director of Jahaji Music) 英語主講 /Conducted in English 影意志 YING E CHI
焦點人物—蘇拉比夏爾馬 / Focus on Surabhi Sharma 特別嘉賓：蘇拉比夏爾馬 / Special Guest : Surabhi Sharma 《加哈吉音樂》及《地痞歌手》都是印度著名女導演蘇拉比‧夏爾馬拍攝的紀錄片，同是關於音樂，也是讓攝影機跟隨著 離開家鄉的人。 蘇拉比‧夏爾馬曾在印度電影電視學院學習電影導演，並於二零零一年拍攝了她的第一部電影。她的電影曾在各大國際電 影節放映，並在尼泊爾南亞電影節、巴基斯坦卡拉奇電影節、阿根廷三大洲電影節、印度紀錄片製作人協會的評選，以及 希臘生態電影國際電影節中獲獎。《地痞歌手》設映後座談環節：蘇拉比‧夏爾馬導演將聯同阿希什‧拉賈德雅克薩、梁 日明，以及崔允信進行對話。 Jahaji Music and Bidesia in Bambai are both directed by Surabhi Sharma, one of India’s best known independent female documentary filmmakers. Both films are about music, with its camera following after those who left their homelands… Sharma studied film direction at the Film and Television Institute of India (FTII), Pune, and made her first film in 2001. Her films have been screened at various international festivals and have been awarded at Film South Asia, Nepal; Karachi Film Festival, Pakistan; The Festival of Three Continents, Argentina; Indian Documentary Producers’ Association and Eco-cinema, Greece. After the screening of Bidesia in Bambai, Surabhi Sharma will be in conversation with Ashish Rajadhyaksha, Lawrence Liang and Vincent Chui.
加哈吉音樂 / Jahaji Music
日期及時間 / Date & Time: 1/11 7:30pm
印度 / India / 2007 / 彩色 / Col / 112 mins 英語對白，簡體中文字幕 / In English with Simplified Chinese Subtitles 導演：蘇拉比·夏爾馬 / Director: Surabhi Sharma 十九世紀中葉開始，印度勞工乘船抵達加勒比海，同時把 他們的音樂帶到千里達及牙買加等地，一百五十年後，印 度音樂家雷莫費爾南德遊歷到這些島國，尋找合作的可能 性並創作新的作品，同時追尋散落在異地的印度文化。 From the mid-nineteenth century, Indian labourers arrived in the Caribbean on boats, bringing a few belongings and their music the beginnings of a remarkable cultural practice. More than 150 years later, Indian musician Remo Fernandes travelled to these islands to explore potential collaborations and create new work.
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影意志 / YING-E-CHI
地痞歌手 Bidesia in Bambai
日期及時間 / Date & Time: 2/11 7:30pm
印度 / India / 2012 /彩色 / Col / 100 mins 印地語及比哈爾語對白，英文字幕 / In Hindi and Bhojpuri with English Subtitles 導演：蘇拉比·夏爾馬 / Director: Surabhi Sharma 《地痞歌手》描述一群離開鄉村搬到印度北部其中最貧困 的區域裡生活的人，日子雖然艱辛，但他們的音樂卻充滿 動力，而且經常對政治作出批判及回應，歌詞亦甚粗鄙， 深受貧苦大眾的歡迎。 帕塔克是一個的士司機，經常在貧民窟，建築工地及的士 站演唱，正在籌備第一張專輯。卡爾帕納是一個當地有名 的女歌手，正在考慮是否應到寶萊塢發展，但從此他們的 音樂會否背棄了他們的出身和一直而來的信念? Bidesia is the one who leaves home. Bambai is the Bhojpuri word for Mumbai. The Bhojpuri people belong to a region in north India that is amongst the most impoverished. Most young men from the villages are earning money across the country making roads, constructing metros and building flyovers. At the same time, They bring with them their vibrant culture centered on music that is at times lyrical, often political and almost always bawdy. Pathak is a taxi driver who is trying to make it as a singer. He is invited to sing at local events organised in slums, construction sites and taxi stands. He is at a critical moment in his career - trying to get his first album produced. Kalpana has been the reigning star of the industry for the past ten years. She is wildly popular. She is desperately trying to cross over to the more glamorous and prestigious Bollywood. However, they are both struggling whether it will betray their origins and the beliefs along the way. The director, Surabhi Sharma, will be attending the discussion session after the screening of Bidesia in Bambai on 2/11. 導演蘇拉比·夏爾馬將會出席十一月二日之映後座談會。 嶺南大學 LINGNAN UNIVERSITY
印度流動影像的新方向 / New Directions for the Moving Image in India 特別嘉賓：梁日明 / Special Guest: Lawrence Liang 梁日明（Lawrence Liang）是另類法律論壇（ALF）的發起人之一，此論壇是一個律師團體，熱心關注社會法律事件。在法律、 科技及文化，以至版權政治、各種活動影像文化各方面，梁日明都是印度的領軍人物。他曾與新德里的發展中社會研究中心 （CSDS）緊密合作，參與其SARAI研究計劃，一起探索知識產權及知識／文化共享空間的問題。他也積極提倡開放軟件原始 碼，致力尋找方法，把開放原始碼的觀念輸進文化領域。他就上述議題撰寫不少文章，其專著有：《公眾在看：性、法律與錄 影帶》及《開放內容授權指南》。
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Lawrence Liang is one of the co-founders of Alternative Law Forum (ALF), a collective of lawyers working on various socio-legal issues. Liang is one of India’s leading authorities on the areas of law, technology and culture, the politics of copyright, and the cultures of the moving image. He has been working closely with Sarai, New Delhi on a joint research project Intellectual Property and the Knowledge/Culture Commons. A keen follower of the open source movement in software, Liang has been working on ways of translating the open source ideas into the cultural domain. He has written extensively on these issues and is the author of The Public Is Watching: Sex, Laws and Videotape and A Guide to Open Content Licenses.
嶺南大學 LINGNAN UNIVERSITY
佳人如我 + 夜精靈的故事 I’m the Very Beautiful + Tales of Night Fairies
日期及時間 /Date & Time: 31/10 12pm
佳人如我 / I’m the Very Beautiful
印度 / India / 印度 / India / 2006 / 彩色 / Col / 65mins 英語對白，簡體中文字幕 / In English with Simplified Chinese Subtitles 導演：希亞瑪爾．卡馬卡爾 / Director: Shyamal Karmakar, 攝影：薩蒂亞．普拉卡什 、加納納塞卡 / Cinematography: Satya Prakash, Gnanasekhar 剪接：納瑪拉塔·雷歐 / Editor: Namrata Rao 音效：普利湯·達斯、波比．約翰 / Sound: Pritam Das, Bobby John 音樂：琪拉蒂普．達斯古普塔 / Music: Chiradip Dasgupta
夜精靈的故事 / Tales of Night Fairies 印度 / India / 2002 / 彩色 / Col / 74 mins 英語對白，簡體中文字幕 / In English with Simplified Chinese subtitles 導演：舒希尼．高希 / Director: Shohini Ghosh 攝影：薩比娜．加迪霍克 / Camera: Sabeena Gadihoke 剪輯：舒希尼．高希、希卡．森 / Editing: Shohini Ghosh, Shikha Sen 音效：蘇林德爾．普拉薩德．辛 / Sound: Surinder Prasad Singh
秋日的最後國度 + 暫時失去知覺 Autumn’s Final Country + Temporary Loss of Consciousness
日期及時間 /Date & Time: 1/11 12:30pm
秋日的最後國度 /Autumn’s Final Country 印度 / India / 2003 / 彩色 / Col / 66 mins 英語對白，簡體中文字幕 / In English with Simplified Chinese Subtitles 導演/攝影 / 音效：索尼婭．賈巴爾 Director, Camera, Sound: Sonia Jabbar 剪接：莫妮卡．巴信 / Editor: Monica Bhasin
暫時失去知覺 / Temporary Loss of Consciousness
印度 / India / 2005 / 彩色 / Col / 35 min 英語對白，簡體中文字幕/ In English with Simplified Chinese Subtitles 導演：莫尼卡．巴辛/ Director: Monica Bhasin 攝影：莫尼卡． 巴辛、索尼婭 ．賈巴爾 / Camera: Monica Bhasin, Sonia Jabbar
死、生等等 /Death, Life, etc 日期及時間 /Date & Time: 2 /11 12:30pm 印度 / India / 2008 / 彩色 / Col / 81 mins 英語對白，簡體中文字幕 / In English with Simplified Chinese subtitles 導演：阿格亞．巴蘇 / Director: Arghya Basu 攝影：阿格亞．巴蘇，馬納斯．巴塔查理亞、拉尤拉．沙阿 / Cinematography: Arghya Basu, Manas Bhattacharya, Rajula Shah 音效：叔巴迪普．森笈多 / Sound: Subhadeep Sengupta 剪輯：阿格亞．巴蘇、拉尤拉．沙阿 / Editing: Arghya Basu, Rajula Shah 音樂：阿納哈德 / Music: Anahad
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嶺南大學 LINGNAN UNIVERSITY
舞者浮生 / The Dance
日期及時間 / Date & Time: 2 /11 2pm
印度 / India / 2008 / 彩色 / Col / 84 mins 英語對白，簡體中文字幕 / In English with Simplified Chinese subtitles 導演：薩巴．德萬 / Director: Saba Dewan 攝影：拉胡爾．羅伊 / Camera: Rahul Roy 剪輯：阿努帕馬．錢德拉 / Editing: Anupama Chandra 音效：阿希什音效：阿希什．潘迪亞 / Sound: Asheesh Pandya
道德電視和愛的聖戰 / Morality TV and Loving Jehad : A Thrilling Tale
日期及時間 / Date & Time: 2 /11 3:30pm
印度 / India / 2007 / 彩色 / Col / 30 mins 英語、印地語對白，英文、簡體中文字幕 / In Hindi and English with English and Simplified Chinese subtitles 導演、編劇：帕羅米塔．沃赫拉 / Director and Writer: Paromita Vohra 攝影：阿維吉特·穆庫爾．肖基爾 / Camera: Avijit Mukul Kishore 剪接：桑克普．梅希羅摩 / Editing: Sankalp Meshram 音效：薩米娜．米希拉 / Sound: Samina Mishra 音樂：奇蘭丹．派特 / Music: Chirantan Bhatt 旁白：羅夫琳．米希拉 / Narrator: Lovleen Mishra
講座及公開討論環節 / Talk and Open Discussion
日期及時間 / Date & Time: 2 /11 4:30pm
講者：梁日明 講題：一堆破碎的影象 從鏡頭看我們的公眾及自我關係 Speaker : Lawrence Liang Topic : A Heap of Broken Images: Cameras as Screen Between Our Public and Private Selves
放映及互動環節 / Screening and Interactions 日期及時間 /Date & Time: 3/11 2pm 講題：相機下的鏡頭 / Topic : Cameras as Screens 主持人：阿希什．拉覃德雅克薩 / Introduction : Ashish Rajadhyakska
香港城市大學創意媒體學院 SCHOOL OF CREATIVE MEDIA, CITY UNIVERSITY OF HONG KONG
關注新實驗影片 / Focus on New Experimental Video
特別嘉賓：阿維吉特．穆庫爾．基肖爾 / Special Guest: Avijit Mukul Kishore 阿維吉特·穆庫爾·基肖爾（Avijit Mukul Kishore）是印度著名獨立電影攝影師及紀錄片導演，他與印度幾位知名實驗錄像 藝術家合拍的作品，也很知名。他畢業於浦那的印度電影電視學院（FTII）。他的自傳體電影《家庭掠影》（2004）為自 傳體形式及實驗錄像片開放了新視野。其作品《全球認證》（2010），在柏林雙年展放映；《垂直城市》（2011）同年於 萊比錫國際紀錄片與動畫電影節、英國謝菲爾德紀錄片節中展映，並在倫敦國際紀錄片節與喀拉拉國際紀錄片電影節上贏 得評判團特別獎。
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Avijit Mukul Kishore is one of India’s leading independent cinematographers and a noted documentary filmmaker, also known for his collaborative work with several of India’s leading experimental videomakers. Kishore is a former graduate of the Film and Television Institute of India (FTII), and his autobiographical film Snapshots from a Family Album (2004) offered opened new directions for both autobiographical film and experimental videography. Among his other films, Certified Universal (2010) was presented at Berlinale, and Vertical City (2011) was shown at Dok Leipzig, Sheffield Docfest 2011 and awarded special jury mentions at the London International Documentary Festival and International Documentary Film Festival of Kerala.
香港城市大學創意媒體學院 SCHOOL OF CREATIVE MEDIA, CITY UNIVERSITY OF HONG KONG
記憶的構造 / Structures of Memory
日期及時間 / Date & Time: 22/10 7:30pm
印度 / India / 2000 /彩色 / Col / 29 mins 英語對白，簡體中文字幕 / In English with Simplified Chinese Subtitles 導演：維萬．桑達拉姆 / Director: Vivan Sundaram 攝影：蘭詹．帕利特 / Camera: Ranjan Palit
自殺筆記 / Suicide Note
印度 / India / 2006 / 黑白及彩色 / B&W, Col / 26 mins 英語對白，簡體中文字幕 / In English with Simplified Chinese Subtitles 導演：基然．蘇拜亞 / Director: Kiran Subbaiah
巴黎秋日 / Paris Autumn
印度 / India / 2006 / 黑白 / B&W / 33 min 英語對白，簡體中文字幕 / In English with Simplified Chinese Subtitles 導演：普什帕瑪拉．N / Director: Pushpamala N 攝影：塞德里克．薩托尼、普什帕瑪拉．N / Cinematography: Cedric Sartore and Pushpamala N 主演：普什帕瑪拉．N、加布裡埃爾．索耶爾、塞德里克．維森特、伯納德和根諾雷．蘇希 爾、塞德里克．薩托尼，以及巴黎的人們 Cast: Pushpamala N, Gabrielle Soyer, Cedric Vincent, Bernard
講座 / Illustrated Lecture
日期及時間 / Date & Time: 24/10 7:30pm
講題： 新實驗電影藝術家的遺產 / Topic: The Legacies of New Experimental Video by Artist 講者：阿維吉特．穆庫爾．基肖爾 / Speaker: Avijit Mukul Kishore Cinematographer and filmmaker Kishore walks the audience through several independent films and video works by some of India’s most eminent artists. Several of the recent video works have been shot by Kishore himself. (Excerpts from: M.F. Husain’s Through The Eyes of a Painter, Nalini Malani’s In Search of Vanished Blood, Vivan Sundaram’s Trash, Gigi Scaria’s Raise Your Hands Those Who Have Touched Him and Elevator, Pushpamala N’s Ramayana, Ranbir Singh Kaleka’s He Was A Good Man, Sumakshi Singh’s Mapping the Studio and Archana Hande’s Tribute to Dadasaheb Phalke).
講座 / Illustrated Lecture
日期及時間 / Date & Time: 25/10 7:30pm
講題：印度紀錄電影 個人歷史 / Topic : India’s Documentary Cinema: A Personal History 講者：阿維吉特．穆庫爾．基肖爾 / Speaker: Avijit Mukul Kishore Cinematographer and filmmaker Kishore on a retrospective view of documentary film practice in India. Well into the 1980s, documentary cinema in India was almost entirely made by the Government, notably under its gigantic Documentary Unit, Films Division. As independent documentary-making flowered through the 1980s, and adopted both new technologies and new modes of dissemination through the 1990s and 2000s, some of the pioneers of documentary including those working at Films Division have been rediscovered as being early pioneers of an efflorescence of documentary-making decades later. (Excerpts from documentary films from the 1970s to today)
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節目表 Programme Dairy Date Time
22/10 (Mon)
24/10 (Wed)
25/10 (Thur)
27/10 (Sat)
28/10 (Sun) P4
2:30pm
希德什瓦里
5:30pm
奈恩蘇克 + SAA
7:30pm
家庭掠影 + 你不屬於
Snapshots from a Family Album + You Don’t Belong
Siddheshwari
P4﹣5
Nainsukh + SAA
P15
記憶的構造+自殺遺書 +巴黎秋日
Structures of Memory + Suicide
Note + Paris Autumn
Illustrated Lecture
Love, Sex Aur Dhokha
講座
Illustrated Lecture
8:00pm
Date Time
P7
禁止吸煙
No Smoking
29/10 (Mon)
30/10 (Tue)
31/10 (Wed)
1/11 (Thur)
2/11 (Fri)
3/11 (Sat)
P13 佳人如我 +夜精靈的故事 I’m the Very Beautiful + Tales of Night Fairies
12pm
秋日的最後國度 + 暫時失去知覺
12:30pm
P13
P13 死、生等等
Autumn’s Final Country + Temporary Loss of Consciousness
Death, Life, etc.
舞者浮生 The Dance
2pm
P14
P14
P14 道德電視和愛的聖戰 放映及互動環節
3:30pm
Morality TV and Loving Jehad: A Thrilling Tale
Screening & Interactions
P14
4:30pm
講座及公開討論環節 Talk & Open Discussion
6pm 7:30pm
P6
愛、性和欺騙
P15
P15 講座
P5﹣6
我們如何歡慶自由
P7
Jashn-E-Azadi: How We Celebrate Our Freedom
聚居地的春天
P8
Spring in the Colony (Sthaniya Sangbaad)
印度電影研討會
P11
Seminar on Indian Films
P11 加哈吉音樂 Jahaji Music
P12 地痞歌手
Bidesia In Bambai
香港藝術中心agnès b. 電影院大堂另設免費放映節目，詳情請見10-12頁 / For the free screenings in the agnès b. CINEMA foyer, Hong Kong Arts Centre, pleas e refer to p. 10-12 票價 / Ticket Price: $60/45* （*全日制學生、六十歲及以上長者及殘障人士票價 /Tickets for full-time students, senior citizens, aged 60 and above, and physically challenged individuals） 節目查詢 Programme Enquiries: 2582 0273 門票現於各城巿電腦售票處公開發售 /Tickets are now available at URBTIX outlets 信用卡電話購票 /Credit Card Telephone Booking Hotline: 2111 5999 票務查詢 /Ticket Enquiries: 2734 9009 網上訂票 /Internet Booking: www.urbtix.hk
播放地點 Screening Locations : 香港藝術中心 agnès b. 電影院 HONG KONG ARTS CENTRE agnès b.CINEMA
香港藝術中心 麥高利小劇場 HONG KONG ARTS CENTRE McAulay Studio
影意志 YING E CHI
香港城市大學創意媒體學院 SCHOOL OF CREATIVE MEDIA, CITY UNIVERSITY OF HONG KONG
嶺南大學 LINGNAN UNIVERSITY
Credits: 策展人：阿希什 拉賈德雅克薩 /Curator: Ashish Rajadhyasha 項目總監：張頌仁 / Commissioner: Chang Tsong-zung 學術總監：陳光興、高士明 /Academic Directors: Chen Kuansing, Gao Shiming 項目統籌：莫昭如、陳韻 /Project Co-ordinators: Mok Chiu-yu, Chen Yun 出品 Presenter
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