fansile
232
88
122
那些电影里外的小土豆和荡妇
娱乐工作者fansile
http://www.mtime.com/my/fansile/
我们用水……
fansile 发布于：2009-11-25 11:01
黑手那卡西与弱势者的文化
fansile 发布于：2009-11-19 12:22
第一次听说黑手乐队，是在他们即将到北京来演出前，台湾同事在餐馆连歌带舞地表演那首“福气个屁！”，一口台语和表演者发光的眼神，让人感到十分有趣——那是改编自台湾一个覆盖率很广的周润发主演的电视广告“保利达B”，这一系列广告推销的是以劳动者为目标人群的一种提神保健饮料，贩卖一种认命但是坚韧的生活态度，讲的是类似“喝了保利达B，咱们工人就有力气、有福气了”这样的情节。黑手改编了这首歌，配上自创的舞蹈，提醒大家不要回避问题不要放弃斗争，这个问题就是普遍的工人权益并无保障。
一个为争取工人权益的乐队，对于（在大陆生长的）我来说先是一种难以想像的事物，我的想象力不停卡壳，上一次看到劳资纠纷，是有人在南方报业集团大楼下拉横幅吧；再上一次，沈阳某工厂门口被糊的大字报吧；再上一次…… “弱势者的文化”这个偏正名词看似本身就是一个矛盾，既然是“弱势者”诉求的必然是一些基本的权益，就工人来说，那是工资、休息、劳保、社会地位等等，连这些都不能保障，如何“文化”？这也是大多数人对“文化”的误解（再次忍不住冒出来为文化研究正名），有人的地方，有习俗、有权利、有群落，遍必然有随之而来的文化。黑手的做法是为弱势群体发生，他们的做法不同于在电视上热播的《芬必得公益广告》（学校篇、公益律师篇）电视广告那样由一个强势的人去给弱势群体帮助（老师-孩子；律师-工人），而是“透过一个集体的过程，让弱势群体经验到社会不公义是如何行程的”。
那些在想像之内和想像不到的世界——
《回家》是张荣隆作词和演唱的歌曲，讲述他的职灾（也就是工伤）之后的感受，他是那样细腻的一个人，从他的歌词、他的声音你就能感受到，他几乎没有提身体的痛苦而是在和大家分享了他的受伤为父母家人带来的痛苦（如果你听《阿母的饭锅》也能感受作者的痛苦，那是在他职灾之后回家，在母亲端上来的饭锅面前落泪的心情）。
听到最后一首歌的时候我自己也惊呆了。穷尽了我那有限的想像，我为黑手假设了各种可能：愤怒的、有力的、鼓舞的、本土的、乡愁的、亲情的、痛苦的、执着的……我没有想到黑手的这首歌可以这样诗意和美丽，美得让人心疼，可忍不住想再要听。
《崖边》是为纪念一代名妓官秀琴而作的歌曲。1997年台北市政府废除公娼之后，原来的公娼失去了合法的谋生手段，官秀琴“在一群穿着优雅套装的学者和政客面前说：我是站在崖边的女人，任凭轻轻一推，就会让我坠落海里。”多年来她为性工作合法化奋斗，但是在经济、政治、道德的各种压力之下，最终在2006年选择以跳海的方式完成了她的抗议。当看到（确实是看到，因为还是台语歌）黑手的陈柏伟写的“一片海洋，有两款风景”的时候就完全被征服。歌词翻译由Yihua提供：
一个为争取工人权益的乐队，对于（在大陆生长的）我来说先是一种难以想像的事物，我的想象力不停卡壳，上一次看到劳资纠纷，是有人在南方报业集团大楼下拉横幅吧；再上一次，沈阳某工厂门口被糊的大字报吧；再上一次…… “弱势者的文化”这个偏正名词看似本身就是一个矛盾，既然是“弱势者”诉求的必然是一些基本的权益，就工人来说，那是工资、休息、劳保、社会地位等等，连这些都不能保障，如何“文化”？这也是大多数人对“文化”的误解（再次忍不住冒出来为文化研究正名），有人的地方，有习俗、有权利、有群落，遍必然有随之而来的文化。黑手的做法是为弱势群体发生，他们的做法不同于在电视上热播的《芬必得公益广告》（学校篇、公益律师篇）电视广告那样由一个强势的人去给弱势群体帮助（老师-孩子；律师-工人），而是“透过一个集体的过程，让弱势群体经验到社会不公义是如何行程的”。
那些在想像之内和想像不到的世界——
《回家》是张荣隆作词和演唱的歌曲，讲述他的职灾（也就是工伤）之后的感受，他是那样细腻的一个人，从他的歌词、他的声音你就能感受到，他几乎没有提身体的痛苦而是在和大家分享了他的受伤为父母家人带来的痛苦（如果你听《阿母的饭锅》也能感受作者的痛苦，那是在他职灾之后回家，在母亲端上来的饭锅面前落泪的心情）。
回来的路 怎么变得那么长这是《黑手三》的第一首歌，这首用台语演唱的，由受职灾的工人自己作词演唱的歌曲，带着电吉他的旋律打开了我的体验之旅。黑手乐团的杨有仁说：“如果有所谓‘摇滚精神’的话，那就是‘让弱势发声’。”是的他们很ROCK，大家不讳言自己的愤怒，之前提到的“福气个屁！”就是大家的一种发泄式的控诉。在《黑手三》中的《司机的心情》和《劳动者战歌.韩国光州之歌》也是揭露真相、追求平等的呐喊，其中前者是通宵开货柜车的司机讲自己无法得到足够的休息，但是为了生计必须做这份危险的工作；而后者是台湾解除党禁后工人团体自觉经验不足，去韩国学习取经的时候来回来的“战歌”，歌词简单有力。
住了二十九年的房间门 又为何如此的陌生
阿爸 阿母 我回来了
但我知道 你们心肝在疼
全国的劳动者 勇敢地站起来和PRC国歌类似的内容严肃和沉重，这是黑手的一面，而一转身，黑手就开始了自嘲，在《老子搞音乐》中唱到：
……
反剥削争平等
为了明天的胜利 誓死战斗到底
……
啥是Note 不懂Key以上是台语的男人的声音，弱势群体往往也是“多样性”的来源，各种Monority是站在一起，我们听到外籍劳工用各自不同的母语喊出“我要休假”的口号，在黑手的梳理中，我们也了解到广大外嫁到台湾的外籍女性，他们离开自己的家乡和亲人、不能再使用自己的母语，面对难以想像的社会融入的问题。在这里，她们也歌唱，在《我从越南来》中一段越南语哼唱的民谣把乡愁传染。
……
老来努力学好乐器 立志为大家争权益
听到最后一首歌的时候我自己也惊呆了。穷尽了我那有限的想像，我为黑手假设了各种可能：愤怒的、有力的、鼓舞的、本土的、乡愁的、亲情的、痛苦的、执着的……我没有想到黑手的这首歌可以这样诗意和美丽，美得让人心疼，可忍不住想再要听。
《崖边》是为纪念一代名妓官秀琴而作的歌曲。1997年台北市政府废除公娼之后，原来的公娼失去了合法的谋生手段，官秀琴“在一群穿着优雅套装的学者和政客面前说：我是站在崖边的女人，任凭轻轻一推，就会让我坠落海里。”多年来她为性工作合法化奋斗，但是在经济、政治、道德的各种压力之下，最终在2006年选择以跳海的方式完成了她的抗议。当看到（确实是看到，因为还是台语歌）黑手的陈柏伟写的“一片海洋，有两款风景”的时候就完全被征服。歌词翻译由Yihua提供：
纪录片《1428》：一切没有超出想像
fansile 发布于：2009-11-04 15:47
看了杜海滨的《1428》再看这Nowtv的纪录片，觉得《1428》很快会被忘记， 而应该被记住的却可能被抹去……
但是我又想，有一个空间，安静、没有干扰的，只有冷静的光影……提供我们这样的一个思考与缅怀的机会，就是这部片的意义之一。如果不是CNEX的操作、杜海滨的制造的间离感、威尼斯的鼓励，连这样一个机会都没有了。不怕石激起水花，是怕没有水花……
是不是所有纪录片都必须要裹挟一个“意义”呢？对于这点，我时常怀疑，但当我们看表现5.12大地震的纪录片那些纪录片的时候，都会忍不住问作者，作者要表达的“意义”是什么——抒发面对天灾的悲天悯人情绪？安抚这片土地上不放弃的人们？质疑可能的“人祸”和追求真相？揭露灾害下利己主义的行为——无论是哪一种，这些纪录片不可能是没有“意义”、没有目的的。而这些影片作者想追求的“意义”直接决定了这部纪录片在电影史和身处灾难或受灾难影响的人群中的价值——是安抚一方灾民？检视面对灾害时普通人和官方的成就与过失？更深地认识人性？还是别的什么。
《1428》片名，来自于地震发生的14点28分，杜海滨藉由片名清晰表达出自此开始，人与环境展开的一连串变化与反应。杜海滨说：“面对这样大规模的灾难与伤痛，不禁问自己身为一个纪录片工作者能为社会做些什么？或许透过对事件详实的记录，是我们能做的一点贡献。”CNEX执行长，同时也是《1428》制片人蒋显斌则说：“本片代表了纪录片工作者对于死难者的悼念与生者的关怀，也很荣幸能够再度支持杜海滨导演的拍摄制作。”
那这到底是一部什么样的片子呢？这里有14点28分地震发生……10天后和210天后作者记录的片断：由精神不正常的流浪汉，和他的父亲和屠户弟弟的震后生活串连起。 三个人像三个符号一样落在我的记忆里。
流浪汉
面对灾害毫无恐惧与悲哀，完全置身度外并对慌乱的人群露出不易察觉的轻蔑的表情。在他周围，有失去孩子的痛苦的父母，为了生计而贱卖掉肥猪的农户，从倒塌的房屋里争抢废钢筋的人，同情无人喂养的狗儿和不能自保的菩萨的妇人，因为领导视察而被堵在半道的灾民。
父亲
原来衣衫褴褛的流浪汉并不是无家可归，他有照顾他的父亲，只是不愿住到灾民集中区，而是和父亲留在废墟里生活，除了吃饭睡觉，他便光着双脚在废墟里游荡。父亲对于政府的解决不是很满意。作者还纪录了很多同样有着不满的人：没有得到电热毯的老妇、 没有简易房却被要求搬离帐篷的村民、不够钱盖房子的夫妇、认为赈灾款项被侵吞的居民。
弟弟
与流浪汉是兄弟，卖猪肉的屠户，我不知道怎么形容他，感觉他过得蛮好，对于作者的拍摄也给予了很多帮助，还通过他关联其他拍摄对象。
在四川大地震这一主题下一时间出现了很多纪录片作品：从国有电视台的制作、到香港电视台、国内的独立纪录片人的作品，在这当中最受关注的一部是由中国纪录 片导演杜海滨执导、以川震为题材的纪录片《1428》，这部作品获得第66届威尼斯影展“地平线单元竞赛”“最佳纪录片”，成为本届威尼斯影展唯一获奖华 语片。比起看过这部纪录片的观众来说，《1428》的知名度要大很多，对比众多没官方媒体封杀的相关题材纪录片来说，这也是虽然不能公映，但可以在媒体上讨论与小规模放映的一部。
我有幸观看的机会也很特别，当时是作为NGO的代表去与CNEX今年选题会的参加者们交流的，看了短片组的汇报，发现一些很感人的题目和线索，相当充实的一次经验。当场也有同样是地震相关的题材来报选题，四川当地人，他们的题目相当震撼，也触到我心头的痛处也好、困惑也好的部分，希望以后能展开。
毫无批评的意图，但《1428》给人的印象是如此平淡；威尼斯评审团表示，该片在面对国家级灾难，以冷静、不煽情的镜头语言，记录事件中包括灾后生活等多面向。这种评价代表了很多影评人/选片人和从业人员对这部影片的看法，是一部很好的纪录片，好在作者切入这个话题的角度、和距离感、和尽量留给拍摄对象的空间，杜海滨在纪录片还不是很成熟的国度（冒犯也要这么说了）能够拿捏好这一尺度令人叹服——很多作者把过于多的自我投射到纪录片中，过于强调他想表达的问题，抹煞了纪录片中事实与问题的自我交互。
所谓平淡的另一重含义则是“不痛不痒”，我可以掐着指头算他覆盖了哪些问题：生离死别之痛、无助与坚韧、官僚机制的荒唐、对赈灾款项被挪用的怀疑、被整个救灾项目所遗忘的边缘人……但是居然有那么多令人揪心的部分没有被覆盖（虽然在此不能说孩子等等的问题），这不是一部可以“在多年之后回顾，还觉得令人动容和了解那时那地发生了什么的纪录片"。平淡也许是最大范围的真相，那既然允许平淡，为何不允许说“他们其实从政府那里得到很多，而且想利用镜头得到更多”（四川朋友语）这样同样平淡的事情，是否那样就不符合观众对大地震的想像呢。
想一个人，带着摄影机去到当时当地，有些时候应该与对抗“大众的想像”做些微斗争，如果不能做到去伸张什么正义的话。一个认真生活在当下中国的人，聆听灾区声音的人，应该能够展现一个更具有多样性和多义性的世界。虽然我完全能够理解威尼斯在这样的时刻给予这样一个奖项给予灾区的支持，也能明白CNEX操作这样一个资助项目的顾全大局的做法。
继续引用四川纪录片工作者的声音，即使我们避开所有的敏感关键词：
“他们中有些人其实从政府那里得到了很多，而且想利用镜头得到更多。”
“ 请你千万不要去那里拍照，但是欢迎你去旅游，支持重建。”
“不要忘了这是最有多样性的一个地域，有着别人无法想像的生活新闻，更别提在这样的大灾难底下，单一化这个事件无助于帮助他们/我们。”
“他们（地震孤儿）第三天就被带离那里，去到外省有专门的人照顾他们，到处是温暖的怀抱；然而他们从来没有真正地面对父母都去世的事实，当他们面对双亲的坟墓，也有点不知所措；别人让他们哭他们就哭了，别人鼓励他们笑，他们就勉强地笑。从此他们的学费都有政府负担，有些还有会房子，但是他们怎么面对摆在面前平坦却迷雾笼罩的成年之前的人生呢？”
到底有多少东西被埋在那片废墟下，请自己google相关影片和文章。
是不是所有纪录片都必须要裹挟一个“意义”呢？对于这点，我时常怀疑，但当我们看表现5.12大地震的纪录片那些纪录片的时候，都会忍不住问作者，作者要表达的“意义”是什么——抒发面对天灾的悲天悯人情绪？安抚这片土地上不放弃的人们？质疑可能的“人祸”和追求真相？揭露灾害下利己主义的行为——无论是哪一种，这些纪录片不可能是没有“意义”、没有目的的。而这些影片作者想追求的“意义”直接决定了这部纪录片在电影史和身处灾难或受灾难影响的人群中的价值——是安抚一方灾民？检视面对灾害时普通人和官方的成就与过失？更深地认识人性？还是别的什么。
《1428》片名，来自于地震发生的14点28分，杜海滨藉由片名清晰表达出自此开始，人与环境展开的一连串变化与反应。杜海滨说：“面对这样大规模的灾难与伤痛，不禁问自己身为一个纪录片工作者能为社会做些什么？或许透过对事件详实的记录，是我们能做的一点贡献。”CNEX执行长，同时也是《1428》制片人蒋显斌则说：“本片代表了纪录片工作者对于死难者的悼念与生者的关怀，也很荣幸能够再度支持杜海滨导演的拍摄制作。”
那这到底是一部什么样的片子呢？这里有14点28分地震发生……10天后和210天后作者记录的片断：由精神不正常的流浪汉，和他的父亲和屠户弟弟的震后生活串连起。 三个人像三个符号一样落在我的记忆里。
流浪汉
面对灾害毫无恐惧与悲哀，完全置身度外并对慌乱的人群露出不易察觉的轻蔑的表情。在他周围，有失去孩子的痛苦的父母，为了生计而贱卖掉肥猪的农户，从倒塌的房屋里争抢废钢筋的人，同情无人喂养的狗儿和不能自保的菩萨的妇人，因为领导视察而被堵在半道的灾民。
父亲
原来衣衫褴褛的流浪汉并不是无家可归，他有照顾他的父亲，只是不愿住到灾民集中区，而是和父亲留在废墟里生活，除了吃饭睡觉，他便光着双脚在废墟里游荡。父亲对于政府的解决不是很满意。作者还纪录了很多同样有着不满的人：没有得到电热毯的老妇、 没有简易房却被要求搬离帐篷的村民、不够钱盖房子的夫妇、认为赈灾款项被侵吞的居民。
弟弟
与流浪汉是兄弟，卖猪肉的屠户，我不知道怎么形容他，感觉他过得蛮好，对于作者的拍摄也给予了很多帮助，还通过他关联其他拍摄对象。
在四川大地震这一主题下一时间出现了很多纪录片作品：从国有电视台的制作、到香港电视台、国内的独立纪录片人的作品，在这当中最受关注的一部是由中国纪录 片导演杜海滨执导、以川震为题材的纪录片《1428》，这部作品获得第66届威尼斯影展“地平线单元竞赛”“最佳纪录片”，成为本届威尼斯影展唯一获奖华 语片。比起看过这部纪录片的观众来说，《1428》的知名度要大很多，对比众多没官方媒体封杀的相关题材纪录片来说，这也是虽然不能公映，但可以在媒体上讨论与小规模放映的一部。
我有幸观看的机会也很特别，当时是作为NGO的代表去与CNEX今年选题会的参加者们交流的，看了短片组的汇报，发现一些很感人的题目和线索，相当充实的一次经验。当场也有同样是地震相关的题材来报选题，四川当地人，他们的题目相当震撼，也触到我心头的痛处也好、困惑也好的部分，希望以后能展开。
毫无批评的意图，但《1428》给人的印象是如此平淡；威尼斯评审团表示，该片在面对国家级灾难，以冷静、不煽情的镜头语言，记录事件中包括灾后生活等多面向。这种评价代表了很多影评人/选片人和从业人员对这部影片的看法，是一部很好的纪录片，好在作者切入这个话题的角度、和距离感、和尽量留给拍摄对象的空间，杜海滨在纪录片还不是很成熟的国度（冒犯也要这么说了）能够拿捏好这一尺度令人叹服——很多作者把过于多的自我投射到纪录片中，过于强调他想表达的问题，抹煞了纪录片中事实与问题的自我交互。
所谓平淡的另一重含义则是“不痛不痒”，我可以掐着指头算他覆盖了哪些问题：生离死别之痛、无助与坚韧、官僚机制的荒唐、对赈灾款项被挪用的怀疑、被整个救灾项目所遗忘的边缘人……但是居然有那么多令人揪心的部分没有被覆盖（虽然在此不能说孩子等等的问题），这不是一部可以“在多年之后回顾，还觉得令人动容和了解那时那地发生了什么的纪录片"。平淡也许是最大范围的真相，那既然允许平淡，为何不允许说“他们其实从政府那里得到很多，而且想利用镜头得到更多”（四川朋友语）这样同样平淡的事情，是否那样就不符合观众对大地震的想像呢。
想一个人，带着摄影机去到当时当地，有些时候应该与对抗“大众的想像”做些微斗争，如果不能做到去伸张什么正义的话。一个认真生活在当下中国的人，聆听灾区声音的人，应该能够展现一个更具有多样性和多义性的世界。虽然我完全能够理解威尼斯在这样的时刻给予这样一个奖项给予灾区的支持，也能明白CNEX操作这样一个资助项目的顾全大局的做法。
继续引用四川纪录片工作者的声音，即使我们避开所有的敏感关键词：
“他们中有些人其实从政府那里得到了很多，而且想利用镜头得到更多。”
“ 请你千万不要去那里拍照，但是欢迎你去旅游，支持重建。”
“不要忘了这是最有多样性的一个地域，有着别人无法想像的生活新闻，更别提在这样的大灾难底下，单一化这个事件无助于帮助他们/我们。”
“他们（地震孤儿）第三天就被带离那里，去到外省有专门的人照顾他们，到处是温暖的怀抱；然而他们从来没有真正地面对父母都去世的事实，当他们面对双亲的坟墓，也有点不知所措；别人让他们哭他们就哭了，别人鼓励他们笑，他们就勉强地笑。从此他们的学费都有政府负担，有些还有会房子，但是他们怎么面对摆在面前平坦却迷雾笼罩的成年之前的人生呢？”
到底有多少东西被埋在那片废墟下，请自己google相关影片和文章。
[转]Shelly on Film: Pushing Beyond Indie Conventions
fansile 发布于：2009-10-20 10:47
每个人对国际电影节选片人可能都有自己的猜测和幻想，有时候他们只是一些看了太多电影的简单好人。Shelly有趣的地方是，他并不是一开始就是做电影节
相关的工作的，而是在北京学习中文，和希望用自己的视角细读当下中国，然后他开始了电影节选片人的工作。我们见过那些对中国有很多预设的老外，觉得交流
有隔阂（参考文章：Everything You Know About China Is Wrong），Shelly不是给你这种感觉的老外，生活在加拿大的犹太家庭，可能让他有更多机会站在不同的身份看待历史与当下。很高兴他把这篇文章写了下来，
始于“我每年看几百部华语电影”的讨论，最后引出了中国独立电影和电影批评的创新问题，哈，灿烂的结局。
原载：http://dgeneratefilms.com/critical-essays/shelly-kraicer-pushing-beyond-indie-conventions/
Shelly on Film: Pushing Beyond Indie Conventions
原载：http://dgeneratefilms.com/critical-essays/shelly-kraicer-pushing-beyond-indie-conventions/
Shelly on Film: Pushing Beyond Indie Conventions
by Shelly Kraicer
Perhaps I’ve been spending just a bit too much time watching movies in China? I have this recurring daydream, most often when I’m watching a new Chinese film that some enterprising young director has sent me. I always watch every independent film that I receive. You never know what gems might appear unsolicited in the mail. And, even if the film isn’t so terrific, it will still be a useful index of all sorts of interesting trends: it might reveal what young filmmakers in China are filming, how they are looking at the world around them, or, at least, what they think people like me want to see.
The daydream, or perhaps it’s a fantasy, is this. There exists, down some dusty grey hutong alleyway of Beijing, a Chinese Indie Director’s Discount Emporium. You want to make a film? Step right in and assemble your movie at bargain prices. The shelving on the left is stocked with cast members: long-haired village boys, out of school, drifting aimlessly. At the back is a set of grainy, dusty, brown-grey village-scapes, ready to be populated by said drifters. To the right, useful equipment. Some tripods, but with a restriction: they must be set up at least 50 metres from the subjects being filmed. Right beside is a very long long shelf, holding 3 minute, 10 minute, even 20 minute-long takes, offered for a steal at family-sized package prices. Alternatively, you could go for deep discount on little DV cams, with the proviso that, held close to the subjects, they be shaken as vigorously as possible. The dialogue shelves in the centre are threadbare: screenplays for rent are all dialogue-light. And, off in a corner, is a shelf labelled “Prostitutes”. It’s over-loaded, with a three-for-the-price-of-one sale.
This may seem a bit mean. But the people I’m making fun of here, in fact, are international film programmers like me (I select Chinese language films for the Vancouver International Film Festival), not the filmmakers themselves. It seems that many of us (my colleagues from other film festivals, and wouldn’t exclude myself) sometimes seem to select films armed with a checklist of “East Asian art film attributes”, the things that populate the shelves of our hutong indie shop. Who can blame a young director from China, who, with little or no chance of gaining any return on his or her investment within his own country, tries to design a film to suit those foreigners who pay the bills, fund post production, and just might offer an overseas distribution deal?
It’s too easy to choose more of what you already know, and it’s too
easy to train audiences (I should say, to educate audiences) to expect
a certain kind of film experience from a certain brand of national
cinema. It’s something that I and my colleagues need constantly to be
on guard against. After all, the joy, and if I may say so, the social
value of the work I do come from constantly expanding, not restricting,
the range of cinema that audiences can see. We should be in the
business of opening wider the gates, or even blasting the gates apart
altogether. Not honing and strengthening them to exquisite perfection.
Fortunately, the Chinese indie brand is still going quite strong. In fact, each of the items in my indie shop has current exponents who give them fresh power and exciting possibilities.
Peng Tao uses that browny-grey palette to devastatingly expressive effect in Little Moth (Xue chan, 2007). His tightly framed hand-held camera rattles along behind the film’s desperately poor characters, pinning them against the rough, impoverished, desaturated urban environments where they are trapped. The colourless futures we see are all that they can imagine for themselves.
Little Moth (dir. Peng Tao)
As for that distant tripod, I can think of no better exponent than Yang Heng with his debut Betelnut (Binglang, 2006) and this year’s Sun Spots (Guang ban, 2009). The tension he exposes between solitary youths and the wide spaces of their rural environments comes from classical symmetries, balances Yang designs in his distantly framed images. He shows how expressive and powerful a camera set far back from the action can be.
Betelnut (dir. ang Heng)
If you want to see long takes that sing, Liu Jiayin’s brilliant series Oxhide I and Oxhide II (Niupi I and Niupi II) are state of the art examples. She knows how to make time itself the subject, and the director, of each shot: she stretches and repurposes cinema in ways no one else yet has imagined.
The girlfriends-turned-prostitutes by the long-haired drifters trope? Well, perhaps that one is due for a little rest.
Oxhide (dir. Liu Jiayin)
What’s really eye-opening, finally, is when I see films that push these conventions into new territory: Wanma Caidan’s The Search, which screened at both the Toronto and Vancouver International Film Festivals, uses a long shots to heartbreaking effect. Even more exciting are films that forego the conventions completely. To take one example, the very young director Wu Haohao has already made a series of documentaries (Kun 1 Action!, Criticizing China, Forbid Silence, all from 2008) that tear up every convention possible, harnessing the boldness and audacity of youth to make movies say new things in wild new ways.
[转]Chinese cinema on the long march
fansile 发布于：2009-09-17 11:31
Coco的总结：西部片、科幻片、警匪片、功夫片……《建国大业》的意义在于开创了一种新的电影类型——幻灯片！
转载《澳大利亚人报》在大爷上画之前的一篇文章在此：http://www.theaustralian.com.au/news/arts/chinese-cinema-on-the-long-march/story-e6frg8n6-1225775188512
FOR the ruling Communist Party it is China's version of The Greatest Story Ever Told. For Jesus Christ substitute Mao Zedong in The Founding of the Republic (Jian Guo Da Ye), a lavish feature film about the communist leader's rise to power, which today will be given the widest release of any feature in China.
It's not just any historical drama. It has been made by China's propaganda department to coincide with the extraordinary gala celebrations of the party's 60 years in power on October 1 this year, which will be marked by a military parade down Beijing's main boulevard and into Tiananmen Square.
The lead role of Mao will played by look-alike Tang Guoqiang, who has played the former Communist Party chairman in 27 other films. (Now that's typecasting.)
And while many of the other lead roles will be filled by relative unknowns, a veritable galaxy of China's best-known film stars and directors - 100 all up - have given their services free of charge.
Popping up for a quick scene here and there will be actors Jet Li, Jackie Chan and Chow Yun Fat, as well as directors Chen Kaige and John Woo (whose scene has been snipped from the final cut).
And that's to name just those who would be better known in Australia. Other stars of Chinese and Hong Kong cinema also have bit parts in the movie.
Roll up, roll up, say the film posters, to see one celebrity every three minutes.
"For the stars, taking part in this movie is an investment for their future market and box office," says Wen Song, who was in the cast but who has used a pseudonym because of the film's promotion rules.
"Since China is still a country with nationalist sentiment, to have a patriotic posture makes (the actors) better accepted by audience as well as the authorities. Participation in the film, for the movie stars, is a declaration of their political standing," Wen tells The Australian.
"The stars want to contribute to the country, it reflects their morality as actors. Besides this, chief director Han Sanping andChina Movie Group's influence also attract them."
In the industry, Han has the nickname "Grandpa San": he is a famous producer and the general manager of China Movie Group, which controls film distribution across China's quickly growing number of screens, now numbering about 4100.
"Grandpa San makes a movie, who dares not to come?" one actor jokes.
Han has admitted his concern that, without the stars, not many viewers would go to cinemas to see such a mainstream film. Yet it's not just the stars flitting across the screen in this extravaganza who are lining up to helpcongratulate the party on its 60 years inpower.
Perhaps the most famous Chinese cinema star to return to China is director Zhang Yimou, who rose to fame through a series of searing portraits of the country such as Red Sorghum and Raise the Red Lantern. Zhang last year directed the opening ceremony of the Beijing Olympics and this year, as part of the huge anniversary celebrations, he is directing a stadium production of Puccini's Turandot, on October 6 and 7.
After a patchy career in Hollywood (Face/Off, Mission Impossible 2), Woo last year made a spectacular return home with the big-budget, two-part historical drama Red Cliff.
Zhang Yuan rose to prominence shooting the first music video for Chinese rock'n'roll godfather Cui Jian. He made Beijing Bastards in 1994, which was shown at the Sundance film festival, and went on to make China's first homosexual-themed movie, East Palace, West Palace.
He was banned from filmmaking in the mainland for years and receded from public view after being detained in a drug scandal in January last year. Now he is back making films at home with his latest, Dada's Dance, telling the story of a young woman who takes to the road after she is falsely told that her mother is not her birth mother.
"The overseas Chinese movie stars value the mainland market, too," widely published Beijing-based film critic Wang Jue tells TheAustralian. "It's not easy for Chinese to get into the mainstream market of Hollywood, so China's mainland market becomes vital for their survival, too.
"They want to show to the audience their patriotic images and show to the authorities their political standing, to make them more welcome to audiences, and their projects also find it easier to get market entry approval."
Amid the national celebrations, one eye will be on the till. China is one of the fastest-growing film markets, with box-office rocketing from $117 million five years ago to $630m last year. For the first six months of this year it took $331m.
The Founding of the Republic is certainly not the only screen celebration of what the party calls the New China.
Flicking through China's cable television stations in recent weeks, the viewer would come across an unusually high number of what look like historical dramas: not usual Chinese viewing fare.
TV movies and miniseries depicting the high points in communist China's history have been made for the anniversary.
Despite the return of many of its established film artists to the fold, China still heavily censors and persecutes its artists in many fields. Ai Wei Wei, the internationally successful artist who was the main designer of Beijing's "bird's nest" Olympic Stadium, has become increasingly politically active and has been harassed by the authorities. He claims to have been beaten by police. It's not treatment those involved in The Founding of the Republic are likely to receive and Han has promised audiences a "sincere work".
"The film is a birthday gift dedicated to the 60th anniversary of the founding of the republic," he says.
Wen says the filmmakers tried to have history recorded correctly.
"The film actually is not like what people thought: full of lecturing tones. The story was told through (people) and their personalities, not only through big events.
"If there are archives or photos (that) show somebody was then on site, we didn't delete him or her."
But Wang says she doesn't have high expectations of the film, which follows Mao's successful campaign against Chiang Kai-shek's Nationalists for control of China.
"It's a partially segmented historical story, repeated in many such films," Wang says. "It will be interesting to see the audience response, young and old, different walks of life, if they go to the cinema (despite) expensive tickets. For example, my mother, she was born in the countryside, had education and work in the city as a doctor, a party member. I think she will have different views with mine."
In copyright-challenged China, The Australian asked for a DVD of the film to view to assist with this article.
"We aren't supplying any," a spokesperson for the film said. "For obvious reasons."
转载《澳大利亚人报》在大爷上画之前的一篇文章在此：http://www.theaustralian.com.au/news/arts/chinese-cinema-on-the-long-march/story-e6frg8n6-1225775188512
FOR the ruling Communist Party it is China's version of The Greatest Story Ever Told. For Jesus Christ substitute Mao Zedong in The Founding of the Republic (Jian Guo Da Ye), a lavish feature film about the communist leader's rise to power, which today will be given the widest release of any feature in China.
It's not just any historical drama. It has been made by China's propaganda department to coincide with the extraordinary gala celebrations of the party's 60 years in power on October 1 this year, which will be marked by a military parade down Beijing's main boulevard and into Tiananmen Square.
The lead role of Mao will played by look-alike Tang Guoqiang, who has played the former Communist Party chairman in 27 other films. (Now that's typecasting.)
And while many of the other lead roles will be filled by relative unknowns, a veritable galaxy of China's best-known film stars and directors - 100 all up - have given their services free of charge.
Popping up for a quick scene here and there will be actors Jet Li, Jackie Chan and Chow Yun Fat, as well as directors Chen Kaige and John Woo (whose scene has been snipped from the final cut).
And that's to name just those who would be better known in Australia. Other stars of Chinese and Hong Kong cinema also have bit parts in the movie.
Roll up, roll up, say the film posters, to see one celebrity every three minutes.
"For the stars, taking part in this movie is an investment for their future market and box office," says Wen Song, who was in the cast but who has used a pseudonym because of the film's promotion rules.
"Since China is still a country with nationalist sentiment, to have a patriotic posture makes (the actors) better accepted by audience as well as the authorities. Participation in the film, for the movie stars, is a declaration of their political standing," Wen tells The Australian.
"The stars want to contribute to the country, it reflects their morality as actors. Besides this, chief director Han Sanping andChina Movie Group's influence also attract them."
In the industry, Han has the nickname "Grandpa San": he is a famous producer and the general manager of China Movie Group, which controls film distribution across China's quickly growing number of screens, now numbering about 4100.
"Grandpa San makes a movie, who dares not to come?" one actor jokes.
Han has admitted his concern that, without the stars, not many viewers would go to cinemas to see such a mainstream film. Yet it's not just the stars flitting across the screen in this extravaganza who are lining up to helpcongratulate the party on its 60 years inpower.
Perhaps the most famous Chinese cinema star to return to China is director Zhang Yimou, who rose to fame through a series of searing portraits of the country such as Red Sorghum and Raise the Red Lantern. Zhang last year directed the opening ceremony of the Beijing Olympics and this year, as part of the huge anniversary celebrations, he is directing a stadium production of Puccini's Turandot, on October 6 and 7.
After a patchy career in Hollywood (Face/Off, Mission Impossible 2), Woo last year made a spectacular return home with the big-budget, two-part historical drama Red Cliff.
Zhang Yuan rose to prominence shooting the first music video for Chinese rock'n'roll godfather Cui Jian. He made Beijing Bastards in 1994, which was shown at the Sundance film festival, and went on to make China's first homosexual-themed movie, East Palace, West Palace.
He was banned from filmmaking in the mainland for years and receded from public view after being detained in a drug scandal in January last year. Now he is back making films at home with his latest, Dada's Dance, telling the story of a young woman who takes to the road after she is falsely told that her mother is not her birth mother.
"The overseas Chinese movie stars value the mainland market, too," widely published Beijing-based film critic Wang Jue tells TheAustralian. "It's not easy for Chinese to get into the mainstream market of Hollywood, so China's mainland market becomes vital for their survival, too.
"They want to show to the audience their patriotic images and show to the authorities their political standing, to make them more welcome to audiences, and their projects also find it easier to get market entry approval."
Amid the national celebrations, one eye will be on the till. China is one of the fastest-growing film markets, with box-office rocketing from $117 million five years ago to $630m last year. For the first six months of this year it took $331m.
The Founding of the Republic is certainly not the only screen celebration of what the party calls the New China.
Flicking through China's cable television stations in recent weeks, the viewer would come across an unusually high number of what look like historical dramas: not usual Chinese viewing fare.
TV movies and miniseries depicting the high points in communist China's history have been made for the anniversary.
Despite the return of many of its established film artists to the fold, China still heavily censors and persecutes its artists in many fields. Ai Wei Wei, the internationally successful artist who was the main designer of Beijing's "bird's nest" Olympic Stadium, has become increasingly politically active and has been harassed by the authorities. He claims to have been beaten by police. It's not treatment those involved in The Founding of the Republic are likely to receive and Han has promised audiences a "sincere work".
"The film is a birthday gift dedicated to the 60th anniversary of the founding of the republic," he says.
Wen says the filmmakers tried to have history recorded correctly.
"The film actually is not like what people thought: full of lecturing tones. The story was told through (people) and their personalities, not only through big events.
"If there are archives or photos (that) show somebody was then on site, we didn't delete him or her."
But Wang says she doesn't have high expectations of the film, which follows Mao's successful campaign against Chiang Kai-shek's Nationalists for control of China.
"It's a partially segmented historical story, repeated in many such films," Wang says. "It will be interesting to see the audience response, young and old, different walks of life, if they go to the cinema (despite) expensive tickets. For example, my mother, she was born in the countryside, had education and work in the city as a doctor, a party member. I think she will have different views with mine."
In copyright-challenged China, The Australian asked for a DVD of the film to view to assist with this article.
"We aren't supplying any," a spokesperson for the film said. "For obvious reasons."
还有谁比晋商更能代表中国人？
fansile 发布于：2009-08-24 14:36
华语电影在经历数年多部华丽空虚的“大片”之后，开始用影像寻找文化的根基，《白银帝国》这部由郭台铭投资近亿制作的电影，脱去了五颜六色的霓裳羽衣，人物穿起了典雅的黑、灰、棕，内敛而有所敬畏。
在清末，晋商因为深谙商业经营之道成为中华这片土地上最懂得聚敛财富的一族，为了在动荡不安的社会中寻找生存空间，他们勤奋、内敛、谨慎、精明。“金融大鳄”康家老爷（张铁林饰）正在为他庞大的帝国寻找继承人，在他的四个儿子中，老三（郭富城饰）是典型的“豪门孽子”，自从他心爱的女人杜筠清（郝蕾饰）被父亲抢走，他开始沉迷于酒色不过问家族生意，然而就是这个儿子最终成为康老爷可以放心托付的继承人。
晋商信奉“绝处生智勇”，所以他们总能置死地而后生。这些都不只靠侥幸、经验的累积或者对事物的远见，更靠居安思危的习惯。只是康三爷这个从来不参加那些装模作样的典礼的“异类”，用身体力行来说明诚信与仁义，言行合一。但是他坚持对继母杜筠清施礼，从深深的鞠躬，到流着泪颤抖着的叩头 ——企图用这些礼数来表示自己的决绝。
与其说片中塑造的晋商形象代表了中国人，不如说那是人们所希望看到的中国人的形象。对于大多在文化中身份迷失的中国人来说，《白银帝国》是一次心理治疗。改编《白银谷》小说并赋予原著新的内涵，带领大家进行这次找寻的台湾导演姚树华，她营造出的恬淡隽永是一班祖国大陆导演所不及的，很遗憾诸多赚得盆满钵满的大陆电影人还沉醉在夸张的民俗、贫苦展示中。但同样是姚树华，却为全片带来最大的缺陷，那就是电影语言过于简单老套，虽然导演有非常丰富的舞台操控经验，但是对于电影语言还是太生疏。她对本片美术的贡献非常大，带着“成为经得起推敲的文献影像”的心情把准备精致的道具，但是对电影的处理还是过于简单直接和空洞。所以有人说，“如果说《无极》是手法跟不上想法，那这片就是想法跟不上手法。”仿佛是把钱和努力都用在背景上了，故事却没有支撑起来，白白地浪费了气场。
虽然美术、服装、录音这些幕后功夫用的都是华人电影圈中顶级的配置，但两度加冕金马奖影帝郭富城在这样的阵容之下挑梁做第一男主角，还是令人替他捏一把汗，不过他交足了功课，尤其是他成功塑造了儒雅而有魄力的山西商人的形象，只是在和郝蕾的感情戏部分还是流露出做作的痕迹。
（原载《信息时报》http://informationtimes.dayoo.com/html/2009-08/23/content_677755.htm）
在清末，晋商因为深谙商业经营之道成为中华这片土地上最懂得聚敛财富的一族，为了在动荡不安的社会中寻找生存空间，他们勤奋、内敛、谨慎、精明。“金融大鳄”康家老爷（张铁林饰）正在为他庞大的帝国寻找继承人，在他的四个儿子中，老三（郭富城饰）是典型的“豪门孽子”，自从他心爱的女人杜筠清（郝蕾饰）被父亲抢走，他开始沉迷于酒色不过问家族生意，然而就是这个儿子最终成为康老爷可以放心托付的继承人。
晋商信奉“绝处生智勇”，所以他们总能置死地而后生。这些都不只靠侥幸、经验的累积或者对事物的远见，更靠居安思危的习惯。只是康三爷这个从来不参加那些装模作样的典礼的“异类”，用身体力行来说明诚信与仁义，言行合一。但是他坚持对继母杜筠清施礼，从深深的鞠躬，到流着泪颤抖着的叩头 ——企图用这些礼数来表示自己的决绝。
与其说片中塑造的晋商形象代表了中国人，不如说那是人们所希望看到的中国人的形象。对于大多在文化中身份迷失的中国人来说，《白银帝国》是一次心理治疗。改编《白银谷》小说并赋予原著新的内涵，带领大家进行这次找寻的台湾导演姚树华，她营造出的恬淡隽永是一班祖国大陆导演所不及的，很遗憾诸多赚得盆满钵满的大陆电影人还沉醉在夸张的民俗、贫苦展示中。但同样是姚树华，却为全片带来最大的缺陷，那就是电影语言过于简单老套，虽然导演有非常丰富的舞台操控经验，但是对于电影语言还是太生疏。她对本片美术的贡献非常大，带着“成为经得起推敲的文献影像”的心情把准备精致的道具，但是对电影的处理还是过于简单直接和空洞。所以有人说，“如果说《无极》是手法跟不上想法，那这片就是想法跟不上手法。”仿佛是把钱和努力都用在背景上了，故事却没有支撑起来，白白地浪费了气场。
虽然美术、服装、录音这些幕后功夫用的都是华人电影圈中顶级的配置，但两度加冕金马奖影帝郭富城在这样的阵容之下挑梁做第一男主角，还是令人替他捏一把汗，不过他交足了功课，尤其是他成功塑造了儒雅而有魄力的山西商人的形象，只是在和郝蕾的感情戏部分还是流露出做作的痕迹。
（原载《信息时报》http://informationtimes.dayoo.com/html/2009-08/23/content_677755.htm）
哈利•波特的成人礼
fansile 发布于：2009-08-11 14:45
众多关于《哈利波特6》的废话中的一篇。此稿已供《信息时报》
狮子会说话，海龟会飞，彼得潘永远不会老……在每一部魔幻题材电影营造出的闭合空间里，魔法是可能的，超自然现象是合乎逻辑的。因此，在电影 里你不会看到演员身上绑的威亚、发际上的胶水、和被特效人员抠掉的摄影棚绿背景，每部影片都努力不让任何事情打破电影空间的闭合性：这是电影的一条金律。
然而对于已经拍到第八年的《哈利波特》系列电影来说，保持电影空间的闭合性不受打扰几乎是不可能的！我们都愿意相信那个大眼圆脸的男孩（丹尼 尔·雷德克里夫）就是哈利·波特。但主角们都在长大，他们都不是生活在真空里。八年时间，观众看着丹尼尔·雷德克里夫（哈利的扮演者）从一个孩子渐渐长 高、脸型改变、长出喉结；看着爱玛·沃特森（赫敏的扮演者）出落出曲线，目光变得深邃；连鲁伯特·格林特（罗恩的扮演者）都变成了长手长脚的少年。媒体也 依照公众的兴趣，一直纠结着小魔法师们的成长来做文章：我们见到丹尼尔·雷德克里夫赤裸上身的的写真相册，了解到爱玛·沃特森正在为慈善机构设计套装，甚 至鲁伯特·格林特患上甲型H1N1流感的消息还被登上了各大报纸显要位置。而观众则在长达8年的时间里关注着这戏里戏外的故事。
在二至四集每一部《哈利波特》里，有一条主线是好魔法师与伏地魔的斗法，还有一条引起观众极其浓厚兴趣的线索，是主人公的成长。然而主角在戏 中都表现的别别扭扭、仿佛没有做好长大的准备，无法与真实世界中他们的年龄同步——在前五集里，起码有四集我会边看边许愿：“求求你们，不要再长大了！” 直到《哈利波特6》的到来。在这一集里，“成长”翻覆成为主线，戏内戏外两个空间被联系到了一起。影片甚至把“谁是混血王子”，“混血王子会怎样”之类的 问题都掠过，魔法场景也被轻描淡写，都是为了让已经到了唇边的故事吐露出来。
英文单词OLD，代表了一种改变：用在哈利的身上是长大的意思，用在邓布利多的身上是变老的意思。酒吧、球类运动、摇滚乐，在霍格沃兹魔法学 校谈恋爱才是正经事。学习恋爱成为哈利和他们朋友们本学期的必修课。经过单恋、暗恋和种种误会之后，十全十美小姐赫敏得到了罗恩的爱，而闷声不响的哈利， 得到了罗恩漂亮的妹妹金妮。未来他们还有很长的一段路要走，尤其是他们已经步入了要独自背负起使命的年纪了。在邓布利多的指导下，哈利找到了消灭伏地魔的 办法。并在与邓布利多一起去取伏地魔第三个魂器的过程中，证明了自己的坚定果断与独立完成使命的能力。办完最重要的事情，交代完所有的后事，邓布利多放心 地绝尘而去。而经过了这场成人礼的哈利，就必须自己担负起制伏魔王，拯救世界的使命了。
青春期的萌动与误入歧途，孩子忽然被授予必须完成的使命……《哈利波特6》也许不是要故意打破电影金律，但却巧妙地利用电影回应了观众对演员真实状况的好奇，也捋顺了角色与演员间的冲突，使观众重新相信丹尼尔·雷德克里夫就是哈利·波特。
这个夏天，和你熟悉的霍格沃兹魔法学校学员们，一起玩味八年的成长吧。
狮子会说话，海龟会飞，彼得潘永远不会老……在每一部魔幻题材电影营造出的闭合空间里，魔法是可能的，超自然现象是合乎逻辑的。因此，在电影 里你不会看到演员身上绑的威亚、发际上的胶水、和被特效人员抠掉的摄影棚绿背景，每部影片都努力不让任何事情打破电影空间的闭合性：这是电影的一条金律。
然而对于已经拍到第八年的《哈利波特》系列电影来说，保持电影空间的闭合性不受打扰几乎是不可能的！我们都愿意相信那个大眼圆脸的男孩（丹尼 尔·雷德克里夫）就是哈利·波特。但主角们都在长大，他们都不是生活在真空里。八年时间，观众看着丹尼尔·雷德克里夫（哈利的扮演者）从一个孩子渐渐长 高、脸型改变、长出喉结；看着爱玛·沃特森（赫敏的扮演者）出落出曲线，目光变得深邃；连鲁伯特·格林特（罗恩的扮演者）都变成了长手长脚的少年。媒体也 依照公众的兴趣，一直纠结着小魔法师们的成长来做文章：我们见到丹尼尔·雷德克里夫赤裸上身的的写真相册，了解到爱玛·沃特森正在为慈善机构设计套装，甚 至鲁伯特·格林特患上甲型H1N1流感的消息还被登上了各大报纸显要位置。而观众则在长达8年的时间里关注着这戏里戏外的故事。
在二至四集每一部《哈利波特》里，有一条主线是好魔法师与伏地魔的斗法，还有一条引起观众极其浓厚兴趣的线索，是主人公的成长。然而主角在戏 中都表现的别别扭扭、仿佛没有做好长大的准备，无法与真实世界中他们的年龄同步——在前五集里，起码有四集我会边看边许愿：“求求你们，不要再长大了！” 直到《哈利波特6》的到来。在这一集里，“成长”翻覆成为主线，戏内戏外两个空间被联系到了一起。影片甚至把“谁是混血王子”，“混血王子会怎样”之类的 问题都掠过，魔法场景也被轻描淡写，都是为了让已经到了唇边的故事吐露出来。
英文单词OLD，代表了一种改变：用在哈利的身上是长大的意思，用在邓布利多的身上是变老的意思。酒吧、球类运动、摇滚乐，在霍格沃兹魔法学 校谈恋爱才是正经事。学习恋爱成为哈利和他们朋友们本学期的必修课。经过单恋、暗恋和种种误会之后，十全十美小姐赫敏得到了罗恩的爱，而闷声不响的哈利， 得到了罗恩漂亮的妹妹金妮。未来他们还有很长的一段路要走，尤其是他们已经步入了要独自背负起使命的年纪了。在邓布利多的指导下，哈利找到了消灭伏地魔的 办法。并在与邓布利多一起去取伏地魔第三个魂器的过程中，证明了自己的坚定果断与独立完成使命的能力。办完最重要的事情，交代完所有的后事，邓布利多放心 地绝尘而去。而经过了这场成人礼的哈利，就必须自己担负起制伏魔王，拯救世界的使命了。
青春期的萌动与误入歧途，孩子忽然被授予必须完成的使命……《哈利波特6》也许不是要故意打破电影金律，但却巧妙地利用电影回应了观众对演员真实状况的好奇，也捋顺了角色与演员间的冲突，使观众重新相信丹尼尔·雷德克里夫就是哈利·波特。
这个夏天，和你熟悉的霍格沃兹魔法学校学员们，一起玩味八年的成长吧。
更多>>
最新日志回复：
看来是部不痛不痒的片子了。 有时候觉得这种题材 或… 
2009-11-06 10:59
- 支持
2009-08-19 22:58
- 汗，郁闷了....
2008-12-22 19:30
- 索权~~~~~
2008-11-17 22:35
更多>>
处理中