爱——首届同性恋电影节致辞

“爱情的形式好比人使用左手和右手:大部分人习惯用右手,如同男人爱着女人;有些人却天生或喜欢使左手,就象男人爱上男人,女人与女人相爱……” –李银河博士(中国社会学家) 

2001年12月14日,首届中国同性恋电影节在北京大学图书馆南配楼拉开了帷幕。

 

爱——首届同性恋电影节致辞

 

这是同性恋电影在中国历史上的第一次大聚会。中国本土的、独立制作的同性恋主题剧情片,在这次聚会上无一缺席。它们是《东宫西宫》(1996)、《男男女女》(1999)、《今年夏天》(2000)、《蓝宇》(2001)和《旧约》(2001)。

 

由王小波编剧、张元执导、司汗和胡军主演的《东宫西宫》,摆脱僵化的性别二元划分,直面性倾向自由,正视”情爱无性别之分”的身体自然。影片中的小史似乎可以正名为”异性恋者”,同性恋者阿兰则对他构成了坚决的挑战。影片华彩所在是:小史身为警察,身为审讯者,却被受审人阿兰的魅力和故事所打动,情不自禁地对阿兰展开意淫式的爱欲攻势。《东宫西宫》颠覆了权力/男人/异性恋中心的传统理念,打翻所谓的原版的、经典的爱欲模式,把长期被歧视、被有意遮盖的另一种爱欲自然–同性相恋”正常化”。与《东宫西宫》歌咏气质相当不同的是《男男女女》和《今年夏天》。它们依序摄制于1999年2000年。崔子恩编剧、刘冰鉴导演、于博和杨青主演的《男男女女》,以平实朴素的风格铺叙出全无僵化的性别和性倾向概念的主人公小博在一个暖冬里的打工经历。影片剧情从头至尾波澜不惊。演员处理人物一概采取本色自然的表演方式。电影语态上的”零技术”,使影片中的人物与场面全无障碍地完成了日常还原。平淡无奇的节奏,摒绝了任何大惊小怪的戏剧可能性。同性恋、双性恋、性向模糊、同性同居,在《男男女女》中一概丧失了有可能被人工附加的神奇性和神秘感。它们原本不是怪物,妖魔化的是怪异的目光。透过这部影片的镜头,传统的、病态的目光将被净化。

 

李玉编导的《今年夏天》,以平静的镜头语汇讲述了三个女子的交叉爱情,没有渲染,没有夸大与强调,简省的画面构成和干脆的场面衔接,使这部电影显现出一种凝重单纯的品质。潘怡与石头在影片中的相识与相恋,来得相当相实,她们之间的欲情戏全不见一丝表演色彩。导演和演员如此沉着冷素,体现出的是平和笃定的创作心态。李玉把较为戏剧性的因素放置在主戏的边缘:石头与男友的聚散,张浅潜的犯人身份和环绕着她的罪案情节剧,潘怡的大象饲养员身份,潘怡母亲在接二连三为女儿筹措丈夫的灰色喜剧之后终于嫁给了一个提亲者。李玉大胆地使用一定的类型片元素,在分解与冷却之后,把它们坚硬地修筑在女女爱情的背后。

 

崔子恩自编自导的DV电影《旧约》,以流动的、手持摄影的影像风格和无拘无束的酷儿状态,深入同性情谊的和性别秩序两间领域,步履出中另一种电影蹊径。《旧约》包含着三个叙事段落:诗篇1981,箴言1991年和雅歌2001。每个叙事段落都由歌队的无伴奏合唱来完成”高潮”:第一个段落是”小博结婚了,”第二个段落是”小浩失业了”,第三个段落是”小博去卖身”。《旧约》处处与惩戒和死亡相关,引用着旧约时代上帝与人类的关系。但是,这不是悲剧,也不意味着悲观世界。新约就在前方,走向前,新约时代就会到来。改编自网络小说《北京故事》的影片《蓝宇》,参展了今年法国的嘎纳电影节,还在刚刚落幕的台湾电影金马奖上夺得4项大奖外加一项观众喜爱奖。它的剧情框架,对于网络小说的读者来说已是耳熟能详。观众期待的是,将文字蓝宇与电影中的影象蓝宇相互印证。这部影片,原作出自女性美籍华人,编导来自香港,演员出自大陆,制片工作融汇了大陆和香港电影工作者的共同努力。它也是迄今为止在大陆拍摄的同志电影中投资最大的。

 

上述的这些影片都是第一次与大陆观众公开会面。

 

相信这样的电影聚会有了第一次,就会有下一次。

(作者:崔子恩)

 

 

“the form of love is just like the way we use our hands: most people prefer their right hands-as man loves woman ; but some of them were born left-handers, just like man falls in love with another man and two women in love.”

Doctor Li Yinhe , sociologist

On December the 14th, 2001 , The 1st Beijing Gay & Lesbian Film Festival was held in

Peking University Library.

 

LOVE-Oration to the 1st Beijing Gay & Lesbian Film Festival

 

This is the first great celebration in the history of China’s gay & lesbian films. all the native Chinese gay & lesbian fiction films, which were independently produced, are all included in this film festival, here we have : <East Palace West Palace>(1996),<男男女女>(1999),<Fish and Elephant>(2000),<Lan Yu>(2001) and <Old Testament>(2001) .

 

< East Palace West Palace >Written by Wang Xiaobo, Directed by Zhang Yuan, Si Han and Hu Jun acted the leading roles. This film breaks the priggish division of the two genders, directly faces the freeness of sexual orientation, envisages the sexual-indistinguishable love of natural body. The role Xiao Shi in the film could be called a heterosexual person, and Alan, a gay, constructs a severe menace to him.  The most wonderful sense is when Xiao shi, as a policeman, is deeply attracted by his arrestee, he starts to chase him around involuntarily. <East Palace West Palace> overthrows the traditional central conception of power/male/ heterosexual, strikes down the so-called original classical love model, then normalizes the other discriminated one: love between the same sex gender. Different from the eulogizing tone of <East Palace West Palace>,<Nan Nan Nv Nv> and <Fish and Elephant> were respectively produced in 1999 and 2000.。Written by Cui Zien, directed by Liu Bingjian, the film <Nan Nan Nv Nv> tells a story of Xiao Bo, a boy who have no sense of sex gender. The whole story goes without any twists and turns, and all the actors act as the way they were themselves, the film comes out as a reappearance of daily life.With an unromantic rhythm, the film abandons all the fussily stagy possibilities. Homosexual, bisexual, uncertain sexual orientation, these all seem so common in the film. They were not monsters, the real one is the  monstrous vision. Through this film, the old and morbid vision will be purified.

 

<Fish and Elephant>, written and directed by Li Yu, narrates the complex love among three women, without romancing, without exaggeration and accent, the film shows a pure character by its succinct composition. In the film, Pan Yi and Stone acquaint each other and fall in love, it seems so real  that as if they were not acting. The director Li Yu put the dramatic polt at the edge of the main story, and used some traditional Hollywood movie elements, after disassemble and refrigerate, and then tightly built them behind the love among women.

 

<The Old Testament>, written and directed by Cui Zien himself, by flowing and hand photograph style and unfettered queer estate, go deep into both homosexually emotion and gender order, carry out a new road of films. <The Old Testament> include three narrative paragraphs: poems 1981, apothegms 1991 and songs 2001. Chorus without accompaniment to achieve the climax sings every narrative paragraph: the first part is “ Xiaobo get married”, the second part is “ Xiaohao out of work” and the third part is “ xiaobo sale himself” < The Old Testament> related with punishment and death everywhere, quote the relationship of God and human in the time of the old testament. However this is not a tragedy and not means pessimism world. The New Testament is forwardly, go ahead and the time of The New Testament will be come.

The film <lanyu>, adapt by e-novel <Beijing stories> was exhibited in the French Canne Film Festival of this year, and also got 4 great award and another audience favor award in 台湾电影金马奖 which just ring down the curtain. This film’s gut frame is very familiar for the readers of e novels, what the audience expectant is to confirm the letters with the pictures of Lan Yu. The original of this film is from a Chinese lady, the director come from Hong Kong and the players from China mainland. The production work gathered the effort of film staffs from both mainland and Hong Kong, it is the highest investment in mainland to make the homosexual film by now.

 

This is the first time of all these films mentioned above to be shown in China Mainland.

 

I believe that celebrations like this, once here is the first time, there would be the next time.

 

Author: Cui Zien

 

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