《在勾引中学会爱》 Approach to Love

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《在勾引中学会爱》

Approach to Love

2013 |72 min|叶明 Ye Ming

剧情长片 Feature Film

编剧 Screenwriters

胡张晨Hu Zhangchen, 叶明 Ye Ming

主演 Cast

马铭远 Ma Mingyuan

制片人 Producer

刘毅 Liu Yi,胡张晨 Hu Zhangchen

摄影 Cinematographer

叶明 Ye Ming

对白语言 Language

中文 Chinese

字幕 Subtitles

中英 Chinese, English

制作机构 Production Group

大小元电影工作室 Daxiao Yuan Movie Studio

 

故事梗概 Synopsis

本片是中国科学技术大学学生团队制作的原创剧情长片,改编自同名网络小说,还原了12年前发生在科大的基情往事;讲述了三个懵懂的少年,在大学中成长,在勾引中学会爱的爱情故事。

This film is based on the true storythattook placeamong three boys at the University of Science and Technology of China. Wu Shuang and Xue Lei are good friends and they both have a crush on Chen Wei. After a period of suspicion, misunderstanding and forgiveness, Wu and Chen fall in love with each other, while Xue moves on and gives them his best wishes.

导演简历 Bio-Filmography of Director

本片导演叶明,兼任摄影,剪辑,编剧,毕业于中国科学技术大学电子科学技术系。本片为其处女作。

Film director Ye Ming, who is also a cinematographer, editor and screenwriter, graduated from the Department of Electronic Science and Technology of USTC. This ishis debut film.

导演照

导演阐述 Director’s Statement

本片改编自网络小说,考虑到电影节奏及剧作的完整性,对原作进行了适当增减,主要素材来源于原作前2/3内容。影片风格以写实为主,尽量还原校园生活的真实状态。性向方面,作平常化处理,未有刻意渲染差异。影片整体基调呈现出童话般的纯真美好,试图再现记忆中的青涩青春。

This film is based on an Internet novel. In consideration of the desired rhythm of the film and completeness of the story, a number of adaptions have been made. Two-thirds of the content is from the original novel. The style of the film is very realistic. It tends to represent the real situation of campus life. Regarding sexual orientation, it doesn’t emphasize differences. The film is beautiful and naïve, like a fairytale. It attempts to show the way youthful immaturity lingers in memory.

《金門銀光夢》 Golden Gate Girls

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《金門銀光夢》

Golden Gate Girls

2013 | 90 min |魏時煜S.Louisa Wei

纪录长片 Feature Documentary

编剧 Screenwriter

魏時煜 S.Louisa Wei

主演 Cast

伍錦屏 Sally Ng,小燕飛 Siu Yin Fei, 馬金鈴 Margareta Ma,朱迪絲梅因 Judith Mayne

制片人 Producer

羅卡 Law Kar, 魏時煜S.Louisa Wei

摄影 Cinematographer

魏時煜 S.Louisa Wei

对白语言 Languages

英中 English, Chinese

字幕 Subtitles

中英 Chinese, English

制作机构 Production Group

藍后文化傳播有限公司 Blue Queen Cultural Communication Ltd.

 

故事梗概 Synopsis

電影史上留名的女性導演遠比男性為少,1950年代以前的更備受忽視,本片追蹤太平洋戰爭爆發前後在美國和香港從事電影製作的女影人伍錦霞(1914-70)的事蹟。她是出生於三藩市的華僑第三代,早在1935年就在美國獨立拍製粵語片,並在香港和美國兩地製編導了8部粵語片,皆富於東方女性主義色彩。伍錦霞一生特立獨行、一身男裝打扮,人皆稱為「霞哥」,報界則譽之為「華南首位女導演」,生前花邊新聞極多,死後卻被人遺忘了二十多年。直至近年她的影片、遺物陸續被發現才漸有人研究。本片製作者搜集了大量有關影片、圖片和文獻,編導魏時煜赴美國訪問了伍的親友、同事,歷時兩年。並以伍氏和同期揚名國際的華裔女星黃柳霜(1905-61),40年代荷里活僅有的女導演桃樂西‧阿玆納(1897-1979)的事蹟作出對比。影片嘗試用國際的目光探視女性電影人在男性操控的電影工業中的奮鬥、起落,大變動時代中特別是大戰時期女性地位的提升,抗日戰爭中伍錦霞和黃柳霜作為華裔女影人的思想感情、和對祖國的貢獻,以及戰中和戰後她們的事業與命運。經過大量的資料搜証和訪問,本片重構伍錦霞由童年到青中年在美國和香港的經歷,包括她的家庭、事業、愛情和友情。在引用了一些珍貴的影片和新聞片之外更有不少一手圖片,構成這本以影像論述影人及其時代的傳記片,也是對跨地區、跨文化、跨性別的先驅伍錦霞,和她的同時代影人的致敬。

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Hong Kong’s first “directress” was a San Francisco native and an open lesbian. Esther Eng (1914-1970) was a true pioneer in many senses. She made eleven Cantonese language films—one in Hollywood, five in Hong Kong, three in California, one in Hawaii and one in New York—all for Chinese audiences before, during and after WWII. She gave Bruce Lee his screen debut in his role as a baby girl in her 1941 film Golden Gate Girl. When production slowed in the 30s and 40s, she helped her father with his Chinese film import business and, later, ran theatres in New York that screened Chinese movies. While in New York City, she also opened at least four restaurants, including the Esther Eng Restaurant, a fine dining establishment frequented by celebrities like Marlon Brando and Tennessee Williams. Following her death in 1970, her obituary appeared in both Variety magazine and TheNew York Times.

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After the retirement of director Dorothy Arzner in 1943 and before Ida Lupino began directing in 1949, Esther Eng was, in fact, the only woman directing feature length films in America. However, the most conspicuous trace of her can be found in the vestiges or her New York City restaurant: the store front forms part of the iconic cityscape that decorates the cover of Madonna’s first album. Drawing on the marks she left in both the Chinese and English press, this film begins to recover some of her lost stories. Clips from her two surviving films, stills and posters from her other eight motion pictures, photos from her six personal albums, newsreels of San Francisco as she saw them, as well as hundreds of archival images are all collected to present her life and the tumultuous time in which she lived in a stunning display of visuals.

Golden Gate Girls is not just a biographical portrait of Esther Eng; it is also a tribute to pioneer women filmmakers working on both sides of the Pacific, and the courage with which they crossed boundaries of language, culture, race and gender.

 

导演简历 Bio-Filmography of Director

魏時煜,九十年代初到加拿大留學,獲得電影學博士。2001年移居香港,開始在香港城市大學任教。2003年起開始拍攝記錄片。2006年她的第一部記錄短片《崔健:搖滾中國》在香港有綫電視第13頻道播出。之後,她和上海女導演彭小蓮合作完成了首部記錄長片《紅日風暴》,分別于2007年和2009年在阿姆斯特丹國際紀錄片電影節和香港國際電影節放映,受到各地媒體好評,並受到學術界重視,很多學者撰文稱讚影片對於歷史書寫、對於紀錄片發展所作出的貢獻。從2009年起,她和監製羅卡合作,開始製作關於香港首位女導演伍錦霞的紀錄片《金門銀光夢》。2013年影片完成後,4月1日在香港國際電影節首映,立即引起國際媒體的重視。《好萊塢報道》稱本片的最大長處在于“把個人故事、時代背景和社會風氣作了無縫縫合,但留給觀衆很多解讀的可能性”;香港的《南華早報》、《明報》,以及美國之音等媒體對導演進行了採訪,認爲她為香港歷史的書寫作出的貢獻。本片將于2013年10月20日又作爲閉幕電影在臺灣女性影展上放映,其後還會在英國、美國各地的影展放映。魏時煜的紀錄片通常都包含大量的視聽材料,顯示出她超強的研究能力,對電影語言的掌握熟練,同行們稱讚她“做工”精細,剪輯、音樂和動畫製作都有相當高的水準。

LouisaWei-s

S. Louisa Wei was born in China during the Cultural Revolution but mainly grew up in China’s post-Mao era. She left China in 1992 to study literature and film in Canada. In 2001, she moved to Hong Kong and has been making documentary films there since 2003. During the past thirteen years, she has been teaching film production, story writing, and media culture courses at City University of Hong Kong. Her oeuvre as a documentarian includes the short musical Cui Jian: Rocking China (2006, DV, 35 min), broadcasted on Channel 13 of Cable TV Hong Kong, the feature length filmStorm under the Sun (2009, DV, 139 min), which premiered at IDFA in 2007, and then in a vastly revised version at the HKIFF in 2009. Her most recent feature documentary is Golden Gate Girls (a.k.a. Golden Gate Silver Light), sponsored by the Hong Kong Art Development Council.

Storm under the Sun has not only received warm feedback from audience members and film critics, but has also been viewed by historians and sinologists as a rare effort and an in-depth representation of Mao’s first nation-wide purge of writers. Partially sponsored by International Documentary Film Festival, Amsterdam, Storm has been written about and reviewed in journals in as many as five languages. It is currently housed in the permanent collections of three museums, two archives, and over 60 university libraries worldwide.

Golden Gate Girl portrays the life and times of Esther Eng, once honored “China’s first woman director.” The documentary has received positive reviews and attention from The Hollywood Reporter, Voice of America, South China Morning Post, Film Business Asian, etc. Elizabeth Kerr of The Hollywood Reporter praised the documentary for “its seamless ability to weave history, Sino-U.S. relations and social standards together to allow for inference and context.”

Wei makes historical documentaries from an explicitly personal perspective as a means to advocate for significant figures and voices lost to historical process. She plays the simultaneous roles of director, writer, and editor, not to establish a singular subjective viewpoint, but to ensure that life and the people in her films are presented intact, with all the complexity and failings of human intellect and sense.

 

导演阐述 Director’s Statement

本片拍攝的動機來自于導演在長期對女導演研究之中的一個發現:先鋒女性的故事常常被歷史有意識地遺忘,因爲歷史學家們總是不能把她們的作品輕易地分門別類。這部紀錄片把伍錦霞的精彩故事和另外兩位她同時代的女性編織在在一起:第一位國際知名的美籍華裔明星黃柳霜(1905-61)和唯一一位成功地從默片過渡到有聲片製作的好萊塢女導演桃樂西ž阿玆納(1897-1979)。伍錦霞(1914-70)是一位舊金山出生的“金門女”,她在太平洋兩岸導演製作了十部粵語片,被稱爲是“華南第一女導演”,在她活躍的年代,她常被稱爲是“中國唯一的女導演”。第二次世界大戰給了她機會,讓她能夠跨越文化、語言、種族和性別的界限,拍攝了一系列女性角色為中心的電影。鮮爲人知的是,在桃樂西ž阿玆納1943年退休之後,到女演員艾達ž露翩奴1949年底開始親執導筒之前,伍錦霞可能也是在美國拍長攝劇情片的唯一的女導演。時過境遷,伍錦霞不再能夠拍攝電影時,她又在紐約開餐館,使高檔中餐進入了美國人的生活。我們找到了關於她的很多中英文報刊,可以讓觀衆感受到她當年的影響。同時,導演找到了她兩部電影的片段,另外八部電影的劇照,涵蓋了從她的少年時到去世前的六本私人相簿,以及從美國和香港的十間資料舘找到的伍錦霞時代的影像資料。

 

My first encounter with Esther Eng took place in 2001 when I began conducting research on Chinese women directors. This research originated from the realization that women’s stories often got lost in the course of history writing, particularly in film history. Recovering such stories has become the main focus of my academic career. I did not consider making a documentary on Esther Eng until early 2009 when over 600 photos from her personal collection—including many stills from her films—fell into my hands. Her career and her life seemed to be an extraordinary case in the history of Hong Kong filmmaking, one that gave rise to many intriguing questions.

When I began to dig further into materials concerning Esther Eng, I found a few factors that together seemed to contribute to her success. First, she started her career with Heartaches (1935), a filmwith a patriotic mission. This helped her establish a positive public image with audiences on both sides of the Pacific as the second Sino-Japanese War was underway. Second, the fact that her first film was filled in a Hollywood studio was stressed and even exaggerated in local press, which gave her immense credibility as a new and young filmmaker. Third, her directorial debut was also a critical and box office success that opened up opportunities for more projects. Finally, she was able to draw talent from the many Cantonese opera performers who visited North and Central America during the 1940s during and after WWII. For fourteen years of her life, she was an active professional filmmaker; but by the time of her death, she was mostly remembered as a restaurateur.

When reconstructing Esther’s life, I was constantly amazed by how many times she had personally journeyed across oceans, but even more so by her casual boundary crossing in her everyday life. In order to find the narrative that would leave the most vivid impression of Esther and her time on the mind of today’s audience, this film has already gone through eight complete versions.

《世界大「同」》 Global Gay— Pour qu’aimer ne soit plus un crime

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《世界大「同」》

Global Gay— Pour qu’aimer ne soit plus un crime

2014 | 77 min | Rémi Lainé

纪录长片 Feature Documentary

故事梗概 Synopsis

世界大「同」(Global Gay)是一部当代长篇纪录片,通过记述一些无畏的反歧视同性恋先驱们的生活和工作,反映了世界范围内反歧视同性恋的斗争经历。该纪录片描述了外交过程的起起伏伏,展示了影片中主要人物为推动该事业的发展及联合国相关决议的通过所作出的不懈努力。

 

The documentary Global Gay is a contemporary saga which chronicles the worldwide battle for the decriminalization of homosexuality through the lives and work of some of its fearless pioneers. The film follows the suspenseful ups and downs of the diplomatic process intertwined with more intimate stories of the film’s main characters as they try to forward their cause and impose a UN resolution.

 

导演简历 Bio-Filmography of Director

在投身纪录片事业之前,雷米﹒莱恩(Rémi Lainé)是一名新闻记者和独立新闻工作者。在过去的15年里,  他参与写真集制作(Twenty-Something, the Good Years), 重大事件纪录 (Outreau, our Story, The World Stops at Bugarach), 以及国际社会高度重视的人权题材影片制作(Khmer Rouge: A Simple Matter of Justice)。雷米莱恩也是一名摄影师,偶尔为著名的法国杂志XXI进行摄影。自2009年起,他一直担任法国纪录片导演协会董事会成员。

Global Gay - Rémi Lainé

Rémi Lainé started out as a news reporter and independent journalist before turning to documentary film. For the past fifteen years, he has created intimate portraits (Twenty-Something, The Good Years), works focusing on major issues (Outreau, Our Story, The World Stops at Bugarach), and films with an international focus dealing with human rights (Khmer Rouge: A Simple Matter of Justice). Lainé is also a photographer and an occasional contributor to the prestigious French magazineXXI. He has been a member of the board of the French Documentary Directors’ Guild since 2009.

《无影无形》 Les Invisibles

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《无影无形》

Les Invisibles

2012| 115 min | 塞巴斯蒂安·利夫施兹 Sébastien Lifshitz

纪录长片 Feature Documentary

 

Les Invisibles    Les Invisibles (3)

故事梗概 Synopsis

几名年长的男女同性恋者坦率的述说他们在法国的早年生活,作为当时不被社会所接受的群体,他们依然无所畏惧的生存及生活。

Several elderly gay men and women speak frankly about their pioneering lives and their fearless decisions to live openly in France at a time when society rejected them.

 

导演简历 Bio-Filmography of Director

塞巴斯蒂安·利夫施兹是一名法国编剧及导演。他在法国电影学院La Fémis任教, 这所学校颇为重视图像和声音学。他曾就读于卢浮宫学院,同时拥有巴黎大学艺术历史专业的学士学位。利夫希茨的作品涉及同性恋主题。他2004年的作品“狂野边缘”讲述了变性妓女前前后后的一些故事。

他两次获得泰迪熊奖, 该奖项是柏林国际电影节专门为影展中各个单元反映LGBT题材的电影所设的一个专门奖项,由一个独立评审团颁发。影片“狂野边缘”荣获2004年最佳故事片,影片“邦比”则获得2013年最佳纪录片, 此片讲述法国变性艺人玛丽﹒皮埃尔﹒普沃特的故事。2014年5月20日, Rizzoli国际出版社出版了利夫希茨的一本图集,名为《看不见的同志:爱与骄傲的老照片,20世纪初同志主题照片合集》

Les Invisibles - Sebastien Lifshitz

Sébastien Lifshitz is a French screenwriter and director. He teaches at La Fémis, a school that focuses on the subject of image and sound. He studied at the École du Louvre and has a bachelor’s degree from the University of Paris in art history.

Lifshitz’s work involves gay themes. His 2004 film, Wild Side, involves several narratives, some told forward and some told backward, about a transsexual prostitute.

He is a two-time winner of the Teddy Award, presented by an independent committee at the Berlin International Film Festival to the year’s best films with LGBT themes. First, he won Best Feature Film in 2004 for Wild Side and, in 2013, Best Documentary Film for Bambi, a documentary profile of transgender French entertainer Marie-Pierre Pruvot. On May 20, 2014, Rizzoli International published Lifshitz’s The Invisibles: Vintage Portraits of Love and Pride, a collection of gay-themed photos from the early 20th century.

《掰了金发妞》 Bye Bye Blondie

Bye Bye Blondie (2)

《掰了金发妞》

Bye Bye Blondie

2012 | 98 min | 维吉妮·德彭特Virginie Despentes

剧情长片 Feature Film

Bye Bye Blondie (1)    Bye Bye Blondie (3)

故事梗概 Synopsis

歌莉娅与弗朗西丝相识于80年代。他们十六岁,陷入了常人一般的浓烈爱恋:嗑药,做爱,摇滚乐。后来他们因为生活而分开各自走上了不同的道路。二十年后,弗朗西丝回来寻找歌莉娅……

Gloria and Frances met in the 80s. They were in love the way people are in love when they are sixteen: sex, drugs and rock & roll. Then they were separated by life events and took very different paths. Twenty years later, Frances comes back to find Gloria…

 

导演简历 Bio-Filmography of Director

维吉妮·德彭特是一名法国作家,小说家和电影制作人。她定居里昂,曾在挂牌“按摩院”当过女佣,妓女,脱衣舞女,在唱片店当过售货员,自由撰稿人,和色情电影评论家。后来她搬到巴黎,她的小说“美丽东西”(Les Jolies)被吉勒·巴盖特-布赫内改编成电影于2001年搬上荧幕。玛莉安·歌迪雅和斯托米·巴格西在片中担任主角。这部电影在2001年杜维尔电影节被授予Michel d’Ornano奖项。

2000年, 她执导的第一部电影改编自她的小说“强暴我/悲情世界”(Baise-moi)。电影讲述的是当代典型的强暴与复仇的故事, 属于剥削类型电影。从2004年到2005年, 她用一个博客记录了她的日常生活

2005年,她为A.S. Dragon组合的专辑“Va chercher la police”写了三首歌

2006年, 她出版了一部非小说类作品“金刚理论”(King Kong Theory)。它叙述了她在法国性产业的个人经历以以及她撰写“悲情世界”时所遭到的骂声与赞美声。

2009年她执导的第一部纪录片“Mutantes (Féminisme Porno Punk)”, 在TV Pink上播出。

2010年,她的小说“Apocalypse bébé”获得法国雷诺多文学奖(Renaudot prize)

“掰了金发妞”被改编成电影,碧翠斯·黛尔与艾曼纽·贝阿领衔主演。塞西莉亚﹒巴克和萨利马﹒布特巴在阿维尼翁戏剧节期间将“金刚理论”改编成一出舞台剧

Bye Bye Blondie - Virginie Despentes

Virginie Despentes is a French writer, novelist and filmmaker. She settled in Lyon where she worked as a maid, a prostitute at massage parlors and peep shows, a sales clerk at a record store, and a freelance rock journalist and pornographic film critic. Then she moved to Paris. Her novel Les jolies choses was adapted for the screen in 2001 by Gilles Paquet-Brenner with Marion Cotillard and Stomy Bugsy in the lead roles. The film was awarded the Michel d’Ornano prize at the 2001 Deauville Festival.

In 2000, she directed her first film, an adaptation of her novel Baise-moi. The film is a contemporary example of a rape-and-revenge film within the exploitation film genre. From 2004 to 2005, she wrote a blog that documented her daily life.

In 2005, she wrote three songs for the album Va chercher la police for the group A.S. Dragon.

In 2006, she published a non-fiction work, King Kong Theory. It recounts her experiences in the French sex industry and the infamy and praise she garnered for writing Baise-moi.

In 2009 she directed her first documentary, Mutantes (Féminisme Porno Punk), which was broadcast on TV Pink.

In 2010, her novel Apocalypse bébé was awarded the Renaudot prize. 

Bye Bye Blondie was adapted for film with Béatrice Dalle and Emmanuelle Béart. Cecilia Backes and Salima Boutebal produced a stage adaptation of King Kong Theory during the Festival d’Avignon.

《我看见》 I See

 

屏幕快照 2014-08-20 下午5.11.21

《我看见》

I See

2014 | 4 min | 灵儿 Ling’er

剧情短片 Short Narrative

编剧 Screenwriter

灵儿 Ling’er

主演 Cast

灵儿 Ling’er

对白语言 Language

中文 Chinese

字幕 Subtitles

中英 Chinese, English

制作机构 Production Group

Beijing Bitches

 

故事梗概 Synopsis

孤独的单身者看着城市里的情欲浮荡,心中无尽的悲伤与对爱情的期待

When a lonely single girl sees love and lust in the air of the metropolis, sorrow fills her heart and makes her desperately want a love of her own.

 

灵儿

导演简历 Bio-Filmography of Director

新闻系在读学生,喜爱镜头、音乐和画面

I’m a student majoring in journalism. I love music and the camera lens.

 

导演阐述 Director’s Statement

这个四分钟的短片里没有太多的剧情,主要是表达一种情绪,不管是异性恋或者是同性恋,亦或是其他性向,在单身了许久的状况下,总会对别人间的感情感到羡慕,同时又有一种疏离的忧伤。

What you see in this four-minute video is not a story, but rather some feelings. Whether gay or straight, and regardless of gender expression, a person who remains single for a long time will inevitably envy others’ relationships and emotions. This in turns makes them feel the sorrow of being separated from the rest of the world.

 

 

《粉蓝紫》 Pink, Blue and Purple

屏幕快照 2014-08-20 下午5.57.59

《粉蓝紫》

Pink, Blue and Purple

2014 | 3 min | Cherry

编剧 Screenwriter

Cherry

主演 Cast

Cherry

摄影 Cinematographer

Liu Gaoxing

对白语言 Language

Chinese

字幕 Subtitles

中文 Chinese, English

制作机构 Production Group

北京纪安德咨询中心 Beijing Gender Health Education Institute, Beijing Bitch Group, 双性恋工作坊 Bisexual Workshop

 

故事梗概 Synopsis

我是一个正在处于对自己的自我认同还是疑问阶段的女孩儿,但是在这16年中,我喜欢过男孩儿和女孩儿,但是我不知道我究竟是怎样的。我想这比我清楚我自己是什么更好。

I’m a girl who’s still questioning her identity. In my sixteen years of life, I’ve loved both girls and boys, but I don’t know who I am. Actually, not knowing who I am is probably better than knowing.

 

导演简历 Bio-Filmography of Director

我出生于1997年11月。刚上初中的时候我爱上一个女孩,但最终一厢情愿。现在我上高中,跟一个男孩相爱。就这样。

I was born in November, 1997. When I started middle school I fell in love with a girl who didn’t love me back. Now I’m in high school and I’m in love with a boy. And that’s it.

 

导演阐述 Director’s Statement

我不知道该说什么。我这人孤僻怪异,在班上没有朋友。但这个世上我有很多其他的朋友。我爱我所有的朋友,无论你年长我几岁。谢谢你们!

I don’t know what I should say. I’m strange and weird and nobody in my class wants to be friends with me. But I have other friends in the world. I love all my friends, even if you are older than me. Thank you!

《当我们谈论双性恋的时候我们在谈论什么》 What Do We Talk about When We Talk About Bisexuality?

《当我们谈论双性恋的时候我们在谈论什么》

What Do We Talk about When We Talk About Bisexuality?

2013 | 7 min | Stephanie

纪录短片 Short Documentary

编剧 Screenwriters

Stephanie, Chenchen

主演 Cast

Stephanie, 太子 Taizi, 言 Yan, 坡坡 Popo, 望舒 Wang Shu, 妖妖 Yao Yao

制片人 Producers

Stephanie, Chenchen

摄影 Cinematographer

Chenchen

对白语言 Language

汉语 Chinese

字幕 Subtitles

中文 Chinese

制作机构 Production Group

同语拉拉视频营 Common Language Video Camp

 

故事梗概 Synopsis

这部纪录短片是关于双性恋议题的探讨,由一个双性恋者本身发起疑问,与有双性恋相关经历的人和双性恋者对谈,希望得到对双性恋者更为多元的认识,消除歧视和偏见。

This short documentary concerns bisexuality. It starts with one bisexual’s questioning of self and of others. By talking with bisexual people and/or people who have had experiences related to bisexuality, the film seeks a more diverse understanding of the issue in order to eliminate discrimination and bias.

 

导演简历 Bio-Filmography of Director

Stephanie热爱性别研究,热爱女权与同志运动。

Stephanie loves gender studies as well as feminist and LGBT activism.

 

导演阐述 Director’s Statement

这个短片是在2013年的同语拉拉视频营中的作品,主要的目的是希望对双性恋这个议题有一个初步的探讨。从双性恋者本身出发,由双性恋者自己讲述自己的故事,而不是被社群的话语所定义。也希望能够通过这个作品打开更多对于双性恋的讨论,更多元和丰富的想象。

This documentary was made in the Video Camp sponsored by Common Language in 2013. The main agenda of the work is to initiate discussion of bisexuality. It starts from bisexual people themselves, and lets them share their own stories instead of being defined by the discourses emerging from the tongzhi community. It is also hoped that this clip will be able to generate more dialogue about bisexuality and to create a space for more diverse and powerful forms of imagination.

 

《铁兔子》 To Live Invisibly

鐵兔子劇照2

鐵兔子劇照

《铁兔子》

To Live Invisibly

2003 | 50 min |黄琼纬 Huang Chiung-Wei, 李家慧 Mochiwhite

 

纪录短片 Short Documentary

 

编剧 Screenwriter

黄琼纬 Huang Chiung-Wei

 

主演 Cast

刚朵琳 Gondolin, Woolf

 

制片人 Producer

黄琼纬 Huang Chiung-Wei

 

摄影 Cinematographer

李家慧 Mochiwhite

 

对白语言 Language

中文 Chinese

 

字幕 Subtitles

中英 Chinese, English

 

制作机构 Production Group

国立中正大学传播学系

Department of Communication, National Chung Cheng University

故事梗概 Synopsis

 

本片以铁兔子作为隐喻,像兔子的,不一定是兔子。当一对异性情侣出现,人们会认为这是寻常的异性恋,而当两个同性在一起,又会被直觉认为是同性恋,在这种「非异即同」的直观下,双性恋似乎被隐没了。本片试图记录双性恋的真实面貌,让人们认识双性恋。

 

In this film, the idea of the iron rabbit is used as a metaphor for bisexuals’ situation. Something that looks like a rabbit is not necessarily a rabbit. When a straight couple appears, people often consider them to be ordinary heterosexuals. And when two gay people get together, people simply think of them as homosexuals. In this instinctive view, which holds that people are either homo or hetero, bisexuals seem to fade out.

 

This film is a real reflection of the lives of bisexual people in Taiwan. We hope that through the film, people can understand more about bisexuals.

 

导演简历 Bio-Filmography of Director

 

我们是毕业於中正传播的顽固青年,一但决定拍摄主题,便义无反顾地投入其中,用影像去记录生命。这是我们首次尝试拍摄纪录长片,期间的策划、拍摄、後製等工作,都由我们两个人独立完成。虽然利用一年不到的时间来製作一部纪录片,是很有挑战性的一件事,成果不能说臻至完美,但收穫绝对是丰硕的。

 

We are stubborn youth who are graduates of Chung Cheng’s Department of Communication. Once we decide on the theme of our shooting, we dedicate ourselves to the film without any regrets. We record life with motion images. This is our first attempt at a feature-length documentary film. We accomplished all of the planning, shooting and post-production independently. Although it was challenging to finish this documentary film in less than a year, and although the final result is not perfect, we still gained a lot of precious experience.

黃瓊緯 李家慧

 

导演阐述 Director’s Statement

 

现今的社会,对於双性恋族群的认识,仍旧处於懵懂的状态,不然就是为他们贴上许多负面标籤,滥交、感情不专一等,甚至要求他们选边站,不是坚守异性圈就是往同志圈去发展,不能够有模糊地带。即便双性恋者与同性恋者相较於主流的异性恋,同属於小众族群,彼此间还是存在著紧张的互动关係。不论是异性恋还是同性恋者,大体上来说还是坚守著单性恋交往的规範,恋爱结构非异及同,而那些打破规则与两性交往的双性恋者,是不能够被接受的。因此我们试图去探究双性恋者的生存状态,看他们如何在不同身分中找出自我的认同,以及被迫在异、同之间被迫作出切割的生命故事,让社会对他们有更进一步的认识。

 

Society’s knowledge about bisexual people continues to be quite limited. People have stereotyped them as being sexually promiscuous and unfaithful in love. Furthermore, they are often asked to choose between homosexuality and heterosexuality; anything in the grey area is not allowed. Despite the fact that bisexuality and homosexuality are both minority identities when compared with heterosexuality, there remains a tense relationship between them. Generally speaking, straight people and gay people all insist on monosexuality. Their sexual orientations are either hetero or homo. Yet bisexuals, who break the rules and show romantic attraction toward both males and females, are forbidden. We wanted to find out how bisexuals live, how they obtain self-recognition in their various identities and how they are forced to separate their hetero and homo orientations. In this way, we hope people will be able to better understand them.

 

 

《有谁在云路上飞,在云路下也飞》Who Flies Above and Below the Clouds?

《有谁在云路上飞,在云路下也飞》

崔子恩

 

Who Flies Above and Below the Clouds?

Cui Zi’en

 

1, 云引

 

汤尼﹒雷恩(Tony Rayns)在径直把片名<浮云>翻译为Zero Thousand Li Under the Clouds and Moon,用典40年代<八千里路云和月>.<浮云>发生地之一是世博会期间的新上海. 王为一导演<八千里路云和月>的发生地是国共日三方角力的旧上海.都有国际背景.翻译延展了历史.

 

0千里和8千里,一个多,一个不仅是少,而且是无,可谓泄尽”浮云”天机.他为我的<少年花草黄>改过英文片名Withered Lads in a Blooming Season,也有典故和引文,此不赘述.

曾经,《我们害怕》和《目的地,上海》是一枚金币的正反两面,正面是价值,背面也是价值。但是,<浮云>浮现以后,金币的刃楞挥斩出圆弧的线条,把价值归0.

 

是否修平道路,还是随云路瞬息兴灭曲折反转?

 

0千里路,铺展在云层和星月之上.

 

是行走,还是云路本身就在高速掠走?

 

2,浮云

 

<浮云>原名<雍布拉康>.雍布拉康是坐落在西藏山南地区行署所在地泽当镇的觉姆扎西次日山头上的西藏第一座宫殿——雍布拉康,始建于公元前2世纪,距今已有2200年的历史。相传是苯教徒于公元前2世纪为第一代藏王聂赤赞普建造,后来成为松赞干布和文成公主在山南的夏宫,五世达赖时改为黄教寺院。

 

以下是出自导演的简短陈述-影片取材于真人真事,由三段构成:女作家是个孤儿,在一次采风中结识了嫁到青海玉树的上海女人,并认其为干妈。干妈在返回上海接受女作家采访时,突然坐化。遗嘱中,干妈请女作家将一串红念珠带回玉树,交给她的上师,以此来超度她的灵魂。大伟被医生告知得了癌症,只能活3个月。大学毕业时,大伟曾和同学翔子约定:在离开这个世界前,彼此一定要见一面。而此时,翔子已扎根玉树支教二十多年。小宝从小就对外星人和UFO感兴趣。一天晚上,外星人托梦给小宝,让他去玉树。外星人说在那里,他们会把小宝带离地球。三个人为了各自的目的,在唐蕃古道上相遇、相知、分离……沿途,青藏高原美幻绝伦的浮云如影随形,春风化雨般地洗涤着天地人间。

 

外景地从上海北京那样的核心都市,迁移到藏区,聚焦于雍布拉康.程裕苏在受访时说:藏区地广人稀,冬季时间长,人们之间缺乏交流的机会。静默修行,成为他们日常的一种生活方式。《浮云》这部影片中,就引入了静默禅。

 

区域广阔,时日漶漫,寺庙旗立.对应的是全球化,大都会,信息时代,信仰危机.影片的影像,坚定地把云层主角化.程裕苏的社会批判,尽在其中.当然,他不去多语,不去道破,以免自限于教派教义,自陷于繁复的老生常谈.

 

被导演剪辑掉的素材和隐藏起的剧情有:小宝外婆被风吹走的线索,女作家的作品,大伟和翔子的同性情谊.那些错综复杂的故事线,那些世间的轨迹,原本存在于<雍布拉康>中.云层浮起的时候,扫荡了这些似是而非的故事.

 

这部影片用4K的Red One拍摄.影片技法有很强烈的冲突.都市的人,戏剧的拍法,戏剧化存在;藏乡的人,纪录的拍法,真实的存在.寻找道路的人,貌似步履宁静,实则心事重重;祷告的人,步履蹒跚,内心却与高云一般澄净.高清凝止,对应了Red One的某些物理影像.

 

浮云若世,原本对应的是,浮生若梦.

 

汤尼﹒雷恩(Tony Rayns)说,这是一部佛学公路电影.我说,这是一部云路片.云路片的特征是神马?多云少人,人类成为浮云的镜像.

 

我曾经为浮云作为人生的喻体而不平.<浮云>援助我还原人间性与浮云性的互喻修辞.

 

人物之上的云层是真正的主角,不仅仅是在影片中出场的时长,和连续性,不是逻辑主语,是宇宙关系.它与UFO结盟.UFO是地球外围的另一种浮云.影片时间年代清晰,人物流脉曲折可见,但是完全被配角化.在云层之下,地球种种,都为光与影的残迹.

 

3,我们害怕

 

这是一部拍法很飞的影片。灵动的手持摄影,飘飞的影像,俯拾可见的随机拍摄的段落镜头,演员不加修饰的即兴表演,以及剧情间的刺痛和才华,使《我们害怕》从第一个镜头开始就呈现出一种十分异质的品性。

 

一个美丽的上海少年和他的友伴们在上海吞吃了用三块钱购买的摇头丸。他们快乐了,在迪厅里摇摇摆摆,快乐无限。尔后,贝贝开始肉体不适。他无端地怀疑自己得了艾滋,不敢见人,不敢回家,也不敢去医院检查血样。闻知消息的棉棉和菲菲满腔关切地将他保护起来。她们出于对艾滋的愚昧无知,把他藏匿起来。妖怪告诉她们,得上艾滋的人要像麻风病人一样被关到小岛上,与世隔绝。她们不愿让乖乖的、温良的、美妙的贝贝身陷小岛。她们带着他东躲西藏,并且私下里探听到在香港可以医治艾滋。她们开始为他筹措赴港看病的经费。无计可施的时候,棉棉要菲菲去找过去的傍家,向他开口要钱,菲菲不肯,因为她已经与他了断了关系。无钱赴香港治病,贝贝似乎只能等死。绝望勾起了贝贝周围人一个又一个悲伤的记忆,有的来自于爱,有的来自于家庭,有的来自于婚姻。他们在绝望之余,听说北京的一位医生既可以为病人检测IHV是否呈阳性,又可以为病人保守秘密,便大着胆子把贝贝送去抽血化验。检测结果出来,贝贝安然无恙。虚惊一场的人们一时失去了可以依存的中心事件,百无聊赖起来。幸亏贝贝似乎永远有独自解决不完的问题:他在因特网上观看相关幼女的色情网页,被棉棉发现,在回答她的追问时,他坦白说,他会与幼女发生性的关系。这个时候,我们看到棉棉在画中画的DV屏幕中抱出了自己未满周岁的女儿。类似的问题还有:他自认为不是一个同性恋者,却喜欢一个叫杰的跳舞男生,想与他有一夜性爱,而杰表示,如果同他上过一次床,他就会失踪,让他永远也见不到他。棉棉把杰吸收到他们的队伍里,期望他能与贝贝相互珍惜。在杰参与的家中聚会上,菲菲和妖怪记忆起相关于美好的命名和出生,双双流下悲辛交集的热泪。然而,杰在影片结尾,还是失踪了,不知是带着爱,还是带着对爱的恐慌与拒绝。

 

程裕苏不仅用DV作为载体,也作为观念,相当彻底地划破真实与虚构、记录片与剧情片、写实与寓言的界限,营造出一个既真切又超乎于真切之上的影像世界。当他把影片中的上海作为一个寓言来看待的时候,寓居其中的人物便有了几分寓言色彩,上海寓言着现代上海,棉棉寓言着上海关怀,贝贝寓言着艾滋时代的上海恐惧,菲菲则寓言着上海由来已久的伤害与愈合。当他把片中的人物作为现实来看待的时候,贝贝、菲菲、棉棉、妖怪和杰便一一具有了自传色彩。镜像中的人物相像于现实中的人物,或者说,真实的人物进入了镜乡。演员们掏出的是私藏的故事和绝无表演的血泪。

 

这部影片是编、导、演对记忆与才华全无保留的一次集体大消费。

 

不是储存,不是累积,不是铺垫,就是一泻千里,就是才情横溢。

 

4,目的地,上海

 

《我们害怕》通篇用SONY 150P拍摄,镜像语言冲绝而幽微,贯通着创作者的呼吸和血流的热温。手持摄影的身体性完全摒弃了电影传统中的“机械主义”,在掌温和胸温的烘烤中,上海的重重夜色鲜活起来,流丽起来,颤动起来。“客观”在这里,被扫荡得一干二净。《我们害怕》的纯净透明,因此而骤然升起。

 

然而,对于被胶片电影拉动百年的国际影坛来说,《我们害怕》的轻盈与青春姿态,毕竟太过朝气,太过冲动,太过无法无天,太过不认胶片祖师,太过挑战电影传承。它激怒了很多“权威”,当然也得到像汤尼·雷恩那样的“权威”的赏识与赞誉。于是,到了《目的地,上海》,程裕苏开始游戏电影传承,运用它,再消解它,回收它,再报废它,再重构它。无论如何,程裕苏这个电影坏孩子显示了他技艺超群而全面的悉尼本色,一种在悉尼电影学院浸淫多年,对电影传统了如指掌的“学院派”根基。其实,这原本是他不想显露也不屑于显露的电影注脚。当然,如果作“眉批”那帮子人要依赖它,不妨事先注明,以免他们多方苦苦索求,终于不得要领,索然起来。

 

《目的地,上海》开篇的辉煌,痴迷了太多痴迷红尘、痴迷于声色犬马的“观众”。追随它的放映现场,我发现了“热爱电影”的另一层含义:热爱宫殿生活,无论前宫后宫,正宫偏宫,热爱殿堂般的堂皇风景。厌恶棚屋,厌恶贫穷,鄙视清苦,是“热爱电影”的潜台词。

《目的地,上海》将外滩的上海与苏州河畔的上海,将政治风云多变的上海与经济风云多变的上海,将中国特色的上海与全球化进程中的上海,将平民的上海与崇尚富贵的上海,将写实的上海与寓言化的上海,有点有线有饱满有余白地呈现出来,构织了一组组“上海后现代百态百媚图”。

 

如果说《我们害怕》是程裕苏的个人主义表达,《目的地,上海》就是程裕苏对上海社会众生的观看与关注。《我们害怕》里的“我们”,在泛个人的单一“小群体”里,对抗着十分具体的恐怖原——HIV阳性,诉说着各自童年的创伤和青春的欲想。《目的地,上海》责把视野推广到远大宽阔的“社会”,在繁华与落寂、消费与被消费、角落里的失语与场面上的喧嚣、悄然的死亡与顽强的奋斗之间,织造出抽象的社会现实与具象的社会现实鲜活联通的影音实现。

 

电影国际的固定或流动成员们,透过《目的地,上海》,看到了一份无奈、挣扎、黑暗然而依旧坚实的城市空间,它其实并不外在于影片中的阿玲、乖乖、平原和林达。它也是那些人物内在中的城市,一个不能不居住、不能不共存的“目的地”。

 

深入到《目的地,上海》的万花筒构造里,程裕苏作为编剧的才能兀然凸显。煌煌空镜中“他在”的都市,由一个主观的画外叙事所主观化。片头如是,但是,一进正片,这种视角便蓦然消隐,“主观”缺席,“叙事者”缺席,SONY 790 BETA 数码摄像机固定在珍尼芙的“黑店“里,如同无人监控的监视器,拍摄下一场黑暗、酷砺的男妓招聘会。从此以后,影片的这种客观化立场便相当残酷地耸立在人物的肩头,不进逼,也不关怀,不施暴力,也不施温慰。无助中的人物开始了一幕又一幕自助或互助的行动戏剧,程裕苏只需顺应他们的出出没没,就可以看到万花筒内人众熙熙攘攘的变化和结局;一个又一个人物出现,又不知所终,一个又一组人际关系开展、绽放,然后又悄然凋零。在影片的结尾,一大片黑暗代替了所有的荣耀与耻辱、繁荣和伤败。黑片加歌声,与片头的浓墨重彩加歌声的格局相呼应,工整而变迁,体现着电影传统中令人津津乐道的“大师手笔”。

 

“异端”的力量来自于那个姐姐,平原在街上遭遇而追随的一个美女。她兀自掌握起主观叙事的“特权”,拦腰将影片一统的叙事风格切割或粉碎。在向电影传承靠拢的步骤间,程裕苏难抑电影革命的本能冲动,让“姐姐”拦在影片当腰,在画外娓娓独语起来。平原的故事,那个父亲是酷儿,母亲坚持婚姻、操劳不息的家庭,突然变成了她的叙述对象。在《我们害怕》里,程裕苏也曾对影片的叙事系统进行过这种篡夺:观众从未谋面的导演突然在篇尾出现,以叙事者的身份介入,开始了寻找“杰”的工作。当然,“姐姐”的摇身一变,兼职起人物与叙事人的双重角色之后,《目的地,上海》的品质也悄然转换了:无助的人们开始受到关怀。然而,关怀着依旧在不失时机地自我放浪——如同“姐姐”当着小平原的面与男友做爱一样——关怀者加重了受关怀者的孤独无援。于是,平原的小狗在同平原一同经历了姐姐的那夜女欢男爱之后,死去了,平原也发起了高烧。程裕苏的人道主义努力失败了。他只好回归着、回归到影片的基础定位上:超越人道主义关怀,让现实的上海作为一个群体化的城市漠然耸立。

 

骨头里,程裕苏坚硬的后结构主义立场不停地抗击着电影精英主义的侵蚀,但是,电影精英主义又不断地将他推向职业电影的道路,激发他拿出相应的策略和手段与之抗衡或游戏。这种尖锐的冲突,体现在程裕苏身上,缩写了一个影像时代:从胶片精英主义到DV大众主义、从电影经典主义到DV反经典主义、从影像精致主义到DV真实主义的拉锯时代。

 

由义无反顾地使用PD150、全数手持摄影、不使用人工灯光和调音设备,到选择790高清晰数字摄影、高保真调音台和现场高静音的拍摄方法,从很少用后期加工手段到大量启用后期加工软件——调色、滤光、三维、音乐配置,程裕苏从“真实”回归了“静美”,又在用新启的、数字化的精美,超越胶片所能达到的精美极限。

 

质疑人生的、生活的“目的地”何在的同时,程裕苏也在向电影的“目的地”提问。

胶片与DV,到底存在着怎样的血源/亲缘关系?DV革命是否可以全无依凭?由国际影展所建立起来的评价体系,是否有足够的准备和实力迎接DV的八面劲风?

 

5,也浮云

 

在上海拍上海, 是地平线视角,是平视,在平视中破界.是为<我们害怕>.

 

从澳洲飞下来拍上海,是俯视,在俯视中沉寂.是为<目的地,上海>.

 

在地面上拍云,是云路下的仰拍.在云层上航拍,是云路上的俯拍.我试过在云间拍摄,云立即化成雾,云路终结或者消隐于雾.

 

程裕苏穿云破雾,使人际成为云层的镜像.是为<浮云>.

 

云如雾.

 

云里雾里.是一个电影辞格,一种佛哲学境界.在假花盛开全无境界的世代,有人选择浮于云上.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Who Flies Above and Below the Clouds?

Cui Zi’en

 

《有谁在云路上飞,在云路下也飞》

崔子恩

 

Prologue

 

When Tony Rayns translated the film title Floating Clouds (fuyun) into Zero Thousand Li Under the Clouds and Moon(Zero Thousand Li hereafter), he probably had in mind Eight Thousand Li Under the Clouds and Moon(Eight Thousand Li hereafter), the classic Chinese film produced in the 1940s. The story of Zero Thousand Li took place in contemporary Shanghai during the World Expo, while Eight Thousand Li occurred in the old Shanghai where the Communist Party, the Nationalist Party and the Japanese fought to have their own shares in the city. The two Shanghais are both international cities. Translation expands history.

 

In comparison to eight thousand li, zero thousand li exposes its scarcity, or rather its void. This seems to be revealing the secret of Zero Thousand Li. Tony Rayns translated one of my film titles into Withered Lads in a Blooming Season also with specific references, a story that requires further elaboration elsewhere. Two other films made by Andrew Yusu Cheng, Shanghai Panic and Welcome to Destination Shanghai, are like two sides of a gold coin: both its head and its tail have values. When Zero Thousand Li emerges, the gold coin is split in halves and its value immediately returns to zero.

 

Shall we pave the roads, or shall we follow the transient and forever-changing clouds?

 

Zero thousand li of roadexpands beyond the moon, the stars and the clouds.

 

Are we walking, or are clouds floating past us continuously at high speeds?

 

Zero Thousand Li under the Clouds and Moon

 

The original Chinese title for Zero Thousand Li is Yumbulakang. Yumbulakang is a Tibetan Palace located on the mountaintop in Tibet’s Tsedang County. It was believed to have been built by Bonismo monks for the first Tibetan king Nyatri Tsenpo in 2 BCE. Later, the palace became the summer palace for the then Tibetan king Songtsan Gambo and Princess Wencheng. Later, the fifth Dalai converted the palace to a monastery for the Gelupa school of Tibetan Buddhism.

 

According to the director, the film is based on a true story, or rather, three true stories. The first story: a woman writer, an orphan at her birth, befriends an old woman from Shanghai who had been married to a man from the Tibetan region of Yushu in Qinghai Province and moved to live there. The writer soon addresses the old woman as “godmother.” The old woman dies peacefully in meditation on her trip to Shanghai for the writer’s interview. In her will, she asks the writer to take a chain of red prayer beads to her guru in Yushu so that he can release her soul from purgatory. In the second story, Dawei is diagnosed with cancer and has only three months to live. He remembers his promise with his university friend Xiangzi that they should see each other again before they die. Xiangzi is based in Yushu and has been working there as a teacher for more than twenty years. In the third story, Xiaobao had developed a strong interest in extra-terrestrials and UFOs since childhood. He is told by ETs in a dream that they will take him away from the earth if he travels to Yushu. The three stories intersect and intertwine when the three people meet, get to know each other and then depart on the ancient Tangbo Road which leads to Yushu. The forever-changing clouds on the Tibetan Plateau accompany their journeys and they clean and purify the mortal world.

 

The film’s shooting locations shift from metropolises such as Beijing and Shanghai to the Tibetan region in northwest China, with Yumbulakang being the final stop and the central focus. In an interview, Cheng explained the importance of Buddhist meditation as a way of life for local Tibetans as a result of remote locations, scarce populations, difficult travelling, and long and harsh winters on the Tibetan Plateau. That is why meditation is frequently used as a theme in the film.

 

The Tibetan Plateau with its stretching land, never-ending time and forever-flowing monastery flags is juxtaposed with big cities shrouded by globalisation and information age and devoid of beliefs. The film makes the clouds its central character. The director’s social critique is implicit; he remains silent about his critiques to avoid being trapped in dogmas and clichés.

 

Some storylines are cut or treated with ambiguity: the mysterious disappearance of Xiaobao’s grandmother in the wind, the woman writer’s works, the same-sex intimacy between Dawei and Xiangzi … those complicated storylines and traces from the mortal world existed in Yumbulakang. When the clouds rise, they wipe away these ambiguous stories.

 

The film is shot with a Red One 4K camera. It utilises different filming styles and shooting techniques for various locations: the scenes in big cities are shot in a dramatic style to represent urban dwellers’ dramatic existence; the scenes in Tibetan regions are shot in a documentary style to indicate the Tibetans’ authentic existence. The urban travelers seem quiet and confident; they are in fact burdened with countless worries. The praying Tibetan travelers seem to walk slowly and unsteadily; their minds are as noble and carefree as high clouds. This contrast is vividly manifested through the physical features of Red One.

 

Floating clouds are like the world. This line is a parody of the widely known Buddhist motto: floating lives are like dreams.

 

Tony Rayns describes the film as a Buddhist road film. I suggest that it is a ‘cloud film’. The characteristic of a ‘cloud film’ is its abundance of clouds and scarcity of human beings. Human beings are in this instance merely mirror images of clouds.

 

I have once complained that people often compare human lives to clouds. Zero Thousand Miles reveals the inter-metaphorisations between mortality and cloudality. The true character of the film is thus the clouds instead of the human beings. This is manifested not only through the temporality and continuity of the cloud presence in the film. The clouds are not substitutes to other things; they point to certain cosmological correlations. They make alliances with UFOs, which are in fact clouds outside of the earth’s hemisphere. The film has a clear timeframe and a distinct storyline made up of people’s lives, which are made completely insignificant. Everything below the clouds are merely traces of light and shadows.

 

Shanghai Panic

This is a free-flowing film in its shooting techniques. Hand-held camera, fast-flowing images, ubiquitous random shots, spontaneous acting, as well as the pains and talents manifested in the screenplay … from the first take, Shanghai Panic demonstrates its heterogeneity.

 

Beibei, A beautiful young man from Shanghai, manages to get some ecstasy at the price of three yuan and he shares them with his friends. They are all overwhelmed with happiness after taking the drugs so they dance around with abandon in the discotheque. After that Beibei feels sick and suspects that he has contracted HIV/AIDS. He fears going out, going home, or going to the hospital to have his blood tested. Knowing nothing about HIV/AIDS, his friends Mianmian and Feifei hide him in order to protect him. Hearing from their mutual friend Yaoguai that those infected by HIV/AIDS will be isolated on a desert island like people with leprosy, Beibei’s friends try to hide him and raise money for him to make a trip to Hong King for treatment. Mianmian suggests that Feifei get money from her wealthy ex-boyfriend, but Feifei refuses as they have already broken up. Despair overwhelms everyone; they are reminded of their sad memories associated with family, marriage and love. Almost in despair, they send Beibei to a doctor based in Beijing who offers HIV/AIDS test without disclosing the patients’ identities. Beibei learns that he is HIV-negative after the test; it turns out that everything is perfectly normal with his health. After this incident, the friends lose their motivation for living and soon become bored again. Unfortunately, Beibei seems to have endless problems: when Mianmian finds Beibei browsing porn websites with little girls’ nude pictures, Beibei admits that he has sex with underage girls. The audience then sees Mianmian carry her baby daughter out of a hand-drawn DV screen. One incident happens after another: Beibei does not identify as gay, but he falls in love with a male dancer called Jie. Jie tells Beibei that he will disappear and will never be seen again if they have sex with each other. Mianmian tries to extend their relationship by including Jie in their friends’ group. She invites Jie to a home party where Feifei and Yaoguai shed tears while recalling the naming and birth of Meihao. Jie disappears at the end of the film, either feeling loved or fearing to be loved.

 

For Cheng, digital video is not only medium but concept as well. It disrupts the boundaries between reality and fiction, documentary and feature film, life and allegory. It constructs a visual world that is both real and unreal. Shanghai is treated as an allegory in the film; so are the characters living in the city. Shanghai symbolises modernity; Mianmian symbolises care in modern life; Beibei symbolises fear in the age of HIV/AIDS; Feifei symbolises trauma and reconciliation. If we read the characters in the film against reality, all of them seem to be autobiographical. The characters’ stories in the film correspond to the actors’ and actresses’ experiences in real life; in other words, real people enter the cinematic world. In this sense, actors and actresses present their own life stories without having to perform.

 

This film marks a collective and unreserved consumption of the memories and talents of the scriptwriter, the director, the actors and actresses.

 

It is not storing up, nor accumulating, nor building up the momentum; it is expressionism without restriction and creative talents overflowing beyond the film.

 

Welcome to Destination Shanghai

 

Shanghai Panic was made with a SONY 150P camera. Its visual languages are idiosyncratic and unique; they are intertwined with the life experiences of the filmmakers and actors/actresses. The bodies with handheld cameras discard the technocentrism of cinematic tradition. Warmed up by palms and chests, the cold nights in Shanghai become refreshed, fluid and dynamic. “Objectivity” has been swept away completely; the film thus displays its purity and transparency.

 

Shanghai Panic, with its dynamic revolt against the cinematic traditions formed during the celluloid era, appears too undogmatic for the international film community. It outrages many authorities in the field and is appreciated by some others, Tony Rayns included. In Welcome to Destination Shanghai, Cheng toys with cinematic traditions by borrowing, discarding, reusing, destroying and reconstructing them. Cheng, as a “bad boy” of cinema, displays his excellent academic training in film in Sydney. However, he is quite critical about, and even contemptuous of, his academic background as a film major. The “traditions” and techniques are only used to help film critics to understand and to “annotate” the film in case they cannot follow it.

 

The rather grandiose beginning of Welcome to Destination Shanghai fascinates many audiences who are obsessed with the spectacle of wealth and pleasure. At its screening venue, I discovered another meaning, an implicit one, of “loving films”: love of splendid palaces and luxurious lives and contempt for dilapidated residential neighbourhoods and poor lives.

 

Welcome to Destination Shanghai juxtaposes a Shanghai on the bund with a Shanghai on the Suzhou River, a Shanghai of changing political climate with the Shanghai of unpredictable economic development, a Shanghai with Chinese characteristics with a Shanghai as a global city, a Shanghai for the ordinary people with a Shanghai for the rich and the powerful, a ‘real’ Shanghai with an allegorical Shanghai … all of these pictures are presented with great complexity and precision; together they constitute a picture series of multi-faceted and polymorphous postmodern Shanghai.

 

If Shanghai Panic is characterised by Cheng’s individual expression, Welcome to Destination Shanghai presents Cheng’s perspectives into, and concerns about, social life in Shanghai. The “we” in Shanghai Panic (the Chinese title is Women Haipa or We Fear) is a small group of individuals combating a big and powerful HIV virus and telling stories about childhood trauma and youthful desires; Welcome to Destination Shanghai pushes the lens onto a broad “society” by weaving together abstract and concrete social realities in sound-image combinations, rife with prosperities and declines, consumption and being consumed, silence of the margins and noisiness of the central scenes, and quiet death and persistent struggles to survive.

 

Permanent and temporary members from the international film community see from the film a sense of helpless and desperate struggles, as well as dark and concrete urban spaces. These urban spaces are not outside of main characters such as A Ling, Guaiguai, Pingyuan and Linda; they are inside the characters. They are urban spaces impossible not to live in and to live together in; they are “destinations.”

 

The kaleidoscopic narrative structure of the film fully displays Cheng’s talent as a scriptwriter. The film begins with an off screen narrator’s perspective, which subjectifies the city and presents it as the “other.” The perspective suddenly disappears when the story unfolds, resulting in the absence of subjectivity and the narrator. The SONY 790 BETA digital video camera is fixed on Jennifer’s “business premise” like a CCTV monitor, ready to shoot the next scene of the male prostitutes’ competition. From that moment, the film presents a sense of objectivity by focusing the camera lens above the characters’ shoulders. It refuses to become a close-up; there is no sympathy or comfort; nor is there violence. The helpless characters perform their activist theatres scene by scene, in solos or in groups. Cheng only needs to follow their entries and exits. Without much effort, Cheng displays the wanes and waxes of the crowd in the kaleidoscope: one character appears and disappears after another; one set of social relationship starts, blossoms and withers quietly after another. At the end of the film, a blackout concludes all the glories and humiliations, prosperities and failures. The blank screen with off screen music is juxtaposed with the grandiose scenes with music at the beginning of the film. The film appears structured but with variations; the beginning and the end of the film shows signs of maestros in film history.

 

The ‘deviance’ of the film comes from the ‘sister’, a pretty young woman whom Pingyuan meets on the street and follows. She suddenly grabs the ‘privilege’ of subjective narration and breaks the coherence of the film’s narrative style. In his acknowledgment of cinematic traditions, Cheng cannot help resisting the impulse to revolutionise films. Pingyuan’s story and the story of the family in which the father is gay and the mother refuses a divorce and works hard to support the family become part of her narrative. The technique of disrupting narratives also appears in Shanghai Panic, when the director suddenly appears at the end of the film as a narrator and starts looking for Jie. In Welcome to Destination Shanghai, the “sister” assumes the double role of the character and the narrator. After this, the tone of the film starts to change: the helpless is taken care of. The “carer”, however, spares no chance to indulge herself in pleasure and this deepens the sense of loneliness and helplessness of the cared. The “sister” has sex with her boyfriend in front of Pingyuan; Pingyuan’s dog dies after that and Pingyuan falls ill with a high fever. Cheng’s humanistic endeavor has failed and he has to return to the starting point of the film: moving beyond humanistic concerns and presenting Shanghai as it is, a strange collective city.

 

Cheng has been resisting relentlessly against the erosion of cinematic elitism with his solid post-structural spirit. In the meantime, cinematic elitism pushes him to be a professional filmmaker and inspires him to come up with more strategies to negotiate with cinematic traditions. This conflict serves as a metonymy for the Digital Video Age: this is an age when celluloid elitism and DV populism, cinematic classicism and DV anti-classicism, as well as image-professionalism and DV realism fight against each other.

 

Cheng starts his filmmaking career with a hand-held PD150 digital video camera, natural lighting and sound, with little post-production editing. He later switches to a high-definition 790 digital video camera, with hi-fi mixer, studio-environment recording and extensive post-production editing (in colour-mixing, light-filtering, three-dimensional presentation and music composition). Cheng thus returns to “beauty” from “reality” and starts to explore the capacity of digital videos in presenting refined and sophisticated images.

 

As he raises questions about the “destinations” of lives, Cheng also raises questions about the “destination” of cinema.

 

What is the relationship between films and digital videos? Does the DV Revolution need to build on something more traditional? Is the film industry established by international film festivals ready to meet the powerful challenges from digital video?

 

Floating Clouds

 

Shooting Shanghai in Shanghai is a horizontal shot. Shanghai Panic breaks the limits of horizontal shots.

 

Shooting Shanghai on a plane from Australia is a crane shot. Welcome to Destination Shanghai presents a birds’ eye view of a silent Shanghai from the sky.

 

Shooting clouds from the ground is a low-angle shot; shooting clouds from above is a high-angle shot. I have tried to shoot between the clouds; the clouds turn into mist; the roads disappear into mist.

 

Cheng sees through these clouds and mists; he makes humanity into the mirror images of clouds; hence Floating Clouds/ Zero Thousand Li.

 

Clouds are like mists.

 

In clouds and mists. This is a cinematic rhetoric and a moment in Buddhist enlightenment. At an age when artificial flowers compete to blossom, Cheng chooses to fly above the clouds.

 

[英译: 包宏伟 English Translation: Hongwei Bao]