獨立紀錄片放映會
Independent Documentary Screenings
Independent Documentary Screenings
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今年「劇搏」演出團隊之一「生活舞蹈工作室」，除帶來結合紀錄片與舞蹈劇場作品《紅》以外，亦引介了來自大陸的紀錄片。「生活舞蹈工作室」主創人文慧，於2005年與吳文光共同創建「草場地工作站」，並於2010年啟動「民間記憶計劃」，參與者需各自返回到自己的村子，拍攝採訪老人，採訪內容由1959年至1961年發生的“三年饑餓”歷史為開端，並延伸到“土改”、“大躍進”、“文革”等不同歷史時期。完成的紀錄片作品曾於世界各地放映、包括美國、日本、瑞典及丹麥等國家。
這次放映的紀錄片是「民間記憶計劃」的其中三齣，透過「劇搏」這個平台，讓澳門觀眾發現更多來自大陸「草根階層」的生活故事。 |
This year BOK Festival presenting Living Dance Studio from Beijing, in addition to showing a documentary performance “Red” on stage, also introduction a series of documentary film from the mainland by the company. Wen Hui, the founder of Living Dance Studio, who co-established the “Caochangdi Workstation” in 2005 with Wu Wen Guang. They started a “The Folk Memory Project” in 2010 by going back to their own villages and making interview with elderlies. Interview topics ranged from the “3 year famine”, the “Great Leap Forward,” the “Land Reform” and the “Cultural Revolution,” across different historical periods. In summary, this project is a trial in creating folk memory archives. This series of documentaries participated in different film festival world-wide, including US, Japan, Sweden, Denmark, etc.
BOK Festival has selected three works from the “The Folk Memory Project”. To Macau audience to find out more living stories from mainland “grassroots”. |
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19/06 iCentre (免費入場 Free Admission)
11:30 14:30 16:30 18:00-19:00 |
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《吃飽的村子》
作者：鄒雪平 片長：88分鐘 製作：2011年 作者的話： 我的上一部片子《飢餓的村子》完成後，我回到村子首先給我的家人放映，馬上遭致一場激烈的家庭反對，幾乎全體家人——我的五十年代出生的父母、七十年代出生的哥哥和「90版」的上高中的弟弟都擔心我採訪村裡五十年前的「飢餓歷史」很危險，會犯錯誤，並且認為我大學畢業後不去找一份穩定的工作、去採訪老人和拍紀錄片是不務正業。家庭的激烈反對讓我幾乎崩潰，我對自己選擇的道路產生懷疑和動搖，同時也在重新審視和尋找自己。這是我從出生到現在、25年來第一次和父母、和家人對抗，也是我叛逆的開始。幸運的是，在家庭反對的「高牆」中，我的身邊站出一個堅定的支持者——我的九歲的姪女，她成了我的「小天使」。還有我採訪過的那些村子里的老人，他們依然堅定而樸實地支持我，即使有的老人看完片子後，擔心這個「暴露飢餓歷史」的片子去國外放映會被外國人恥笑中國，也有一個叫西陵的老人站出來勸說他們支持我。這是我跟隨「民間記憶計劃」返回我的村子拍攝的「我的村子」系列紀錄片的第二部片子，記錄了我因為尋找記憶所遭遇的現實。我最大的疑問是，這個村子經歷過慘絕人寰的飢餓災難，五十年後的現在，肚子是能吃飽了，日子也比以前好過多了，但這個村子的精神是否依然還在飢餓中？ |
Satiated Village
Directed, Photographed, edited by: Zou Xueping 88min. /2011 The Director’s Statement: After completing my previous documentary The Hungry Village, I returned to my hometown to give the first screening of the film to my family. The film was unanimously and fiercely opposed by my family members, including my parents who were born in the 1950s, my elder brother born in the 1970s, and my younger brother born in the 1990s. They were worried that investigating the history of the famine in the village from fifty years ago was dangerous; they also thought that after I had graduated I should find a more stable job instead of interviewing the elderly and making documentaries. I was very much frustrated with my family’s strong objections, and had some doubts and wavered over the path I has chosen; at the same time, I had to re-examine myself and do some soul-searching. It was the first time I had confronted my parents and my family in the 25 years since I was born, and was also the beginning of my rebellion. Fortunately, against the “high wall” of family opposition, I had a steadfast supporter standing with me—my 9-year old niece. She became my little angel. There were also the old folks I had interviewed; they still unswervingly backed me, even though after watching the film, some of them were afraid that a documentary intent on “exposing the history of the famine” would make China a laughingstock if shown to foreign audiences, and then an old man named Xiling spoke out and persuaded them to support me. It is the second documentary of “my village” series since I got involved with the “Folk Memory Project” and returned to my hometown to shoot footage, recording the realities I encountered in my search for memories. My biggest question is: after experiencing the disaster of the tragic famine fifty years ago, the villagers now are not short of food, and are living a better life than before, but is the spirit of this village still starving? |
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《花木林，小強啊小強》
作者：李新民 76分鐘 / 2013 作者的話： 片子是關於一個四歲的小男孩，男孩的媽媽是我的同齡人小群，去年拍了小群的故事，她一家四口人的生活。我今年回村，發現小群的兒子小強很有意思，我帶著小強一起撿塑料袋。這個小強是我這個片子里的代表未來的孩子，同時，花木林寨子老人的現實生活也一如既往，麻木孤單。 李新民，1988年出生於雲南鳳慶縣花木林村，上學至小學五年級，家貧停學，16歲進城打工，2007年至今是草場地工作站工作人員。2010年她參與民間記憶計劃，回到她的村子採訪拍攝，已完成兩部紀錄片《回到花木林》和《花木林2012》，並參與《回憶：飢餓》、《回憶：墓碑》等劇場作品創作與演出。 |
Huamulin, Boy Xiaoqiang
Directed, Photographed, edited by: Li Xinmin 76 min. /2013 Filmmaker’s words: This film is about one four-year-old boy. His mother is Xiaoqun, just in my age. I filmed Xiaoqun and her family last year. This year I went on. In this process, I find Xiaoqiang so interesting. He played and picked up rubbish together with me. I also saw old people’s real life and found that villagers were destroying the environment. All of these consist my film. Li Xinmin, was born in a montanic village in Yunnan Province in 1988. She had just got the education for four years and had to stopped for the financial program. She started to work to provide for her family in the city when she was 16 years old. Sinces 2007, and is currently a resident artist at CCD Workstation. She. She has completed her two documentaries Back to Huamuling (2011), Huamulin 2012 (2012). She also created and performed with Memory: Hunger (2010), Memory: Monument (2012). |
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《聽三奶奶講過去的事情》
導演，拍攝，剪輯：文慧 片長: 75 min/ 2011 簡介 為了尋找忘卻的家庭的記憶，我找到了我父親家族中至今健在的三奶奶。我以前從來不知道我還有這樣一個奶奶，她是我父親的三嬸，但我父親從未和我提起過她。今年冬天，我在雲南省易門縣的一個叫大河邊村子找到了這個三奶奶。她的名字叫蘇美玲，現在83歲了。我和相遇，就好像她就在那裡等著我，等了整整83年。在村子里，三奶奶開始和我講她的故事———一個婦女在時代巨變中的命運。 簡歷 文慧舞蹈編導，舞者，同時做紀錄片和裝置作品。中國當代舞蹈劇場先鋒。1989年畢業於北京舞蹈學院編導系。1994年赴美國紐約學習現代舞。1997至1998年獲美國亞洲文化基金會 (Asian Cultural Council ) 獎金，再赴紐約研修現代舞及戲劇創作。1994年在北京與吳文光共同創建「生活舞蹈工作室」 並參與策劃和主辦和多個藝術項目。20年來，一直堅持以劇場的方式介入社會。2008年開始研究身體作為個人記錄社會的資料館和檔案庫，以個人的方式嘗試身體記憶如何將歷史與現實碰撞。 「生活舞蹈工作室」作為一個獨立的非盈利的當代舞蹈創作團隊。1995年至今，活躍於中國當代藝術的前沿以及國際最具探索性的舞台及藝術節上。 2004年，「生活舞蹈」的作品《身體報告》獲蘇黎世藝術節（Zürcher Theater Spektakel）獎：ZKB Patronage Prize。 |
Listening to Third Grandmother’s Stories
Directed, Photographed, edited by: Wen Hui 75 min. /2011 Filmmaker’s words: While searching for the memories that my entire family has forgotten, I found my third grandmother. She is the only one of my grandparent’s generation still living. She is my father’s aunt, my great-aunt, but neither my father nor my family ever mentioned her to me. Last winter I found her in a village in the mountains of Yunnan. Her name is Su Meiling and she is eighty-three years old. When I met her it was as if she had been waiting her whole life for me to come. Waiting for eighty-three years. I stayed with her and she began to tell me about her life. Through her stories I could see how China’s great changes changed one woman’s life. About Wen Hui: A choreographer and dancer, Wen Hui also makes documentary films and installations. She is one of the pioneers of Chinese contemporary dance theatre. Wen Hui graduated from Beijing Dance Academy in 1989 with a degree in Choreography. In 1994, she studied modern dance in New York. From 1997 to 1998, she received a scholarship from Asian Cultural Council to further her study of modern dance and theatre making in New York. In 1994, she formed Living Dance Studio with Wu Wenguang in Beijing, and has participated in curating and organizing numerous arts projects. For twenty years, Wen Hui has insisted in using theatre as an intervention in the society. Since 2008, she began to research the ways body form the archive of personal social documentation, using personal means to experiment how bodily memory catalyzes collision between history and reality. Living Dance Studio is an independent non-profit contemporary dance creative collective. Since 1994 till now, the company has been active at the cutting-edge of Chinese contemporary art as well as the most probing stages and festivals internationally. They have presented their works in over seventy cities in thirty countries, winning international high appraisals. French magazine Télescope describes Wen Hui as “a pioneer of dance…a miracle.” In 2015 wenhui’s work: “Dancing with Third Grandmother” “Dancing with Farmer workers"at the Venice Biennale in Italy. In 2004, Report on Body by Living Dance Studio won the “ZKB Patronage Prize” in Zürcher Theater Spektakel. In 2005, Wen Hui and Wu Wenguang established Caochangdi Workstation and co-curated the first “Cross-arts” International Dance Festival in Beijing. In the same year, they initiated European Artists Exchange Project and Young Choreographers Project. |
