Abstract 概要
Underground Vein Stretching Across The Sea: Showcasing Personal/Experimental Chinese Films In Japan In The Context Of Image Forum
越过大海的地下脉络:通过Image Forum的平台展映中国的个人/实验电影作品
作者 Author: Yamashita Koyo 山下宏洋
Image Forum is a multiplex institution that consists of the Image Forum Festival, the Image Forum Institute of Moving Image (for non-degree training in experimental filmmaking), and a publishing agency; also, as an arthouse distributor, it owns its own arthouse theatres too. Yamashita Koyo, Festival Director of Image Forum, surveys the conception and iterations of this experimental/personal filmmaking institution since 1970. Despite the growing global reach of Image Forum, Chinese independent films did not enter the festival until the 2000s. Yet the rapid growth in film works and corresponding interests prompted Image Forum to initiate new programmes, networks, and competitions to address the lack of organization and synergy between East Asian filmmakers. A similar development can be seen in programmes on experimental films, which finds new life in the Asian context. Yamashita also delineates Image Forum’s other functions in art- house cinema programming and publishing and how each has intersected with various aspects of Chinese cinema.
Image Forum作为影像机构，其构成包括Image Forum影展(Image Forum Festival)、艺术影院(并有自己的发行业务)、致力于培养实验影像制作人才的映像研究所及出版社。在这篇文章中，Image Forum影展总监山下宏洋回顾了Image Forum自1970年成立以来在推动日本国内实验电影与个人影像 制作的方面所扮演的不可或缺的中心位置，尤其是该机构的影展数十年以来的发展。尽管Image Forum影展的选片自90年代后半逐渐开始关注来自亚洲的作品，它与中国独立影像却直到2000年后的 数码时代才开始有交集。尽管影展所展映的来自中国的独立制作作品的数量逐渐增长，亦受到观众 好评，策展方仍旧面临渠道和信息的不畅通、东亚作者间缺乏交流等的各类问题。于是，Image Forum通过与各类组织和个人的合作，逐渐扩展了展映中国独立电影的单元与关系网。同时，中国年 轻电影作者的强势能量也让日本国内外的实验电影人受到鼓舞。在影展之外，山下也介绍了Image Forum是如何通过旗下的艺术影院和杂志与影像出版等活动将不同时期、不同类型的中国电影引介到了日本。
东京国际电影节与中国电影的三十年 ——从“蓝风筝”到“龙标”
From The Blue Kite To The ‘Dragon Seal’: Thirty Years Of The Tokyo International Film Festival And Chinese Cinema
作者 Author: 石坂健治ISHIZAKA Kenji；翻译Translator 闻豪 Wen Hao
在这篇文章中，现任东京国际电影节(TIFF)资深选片人的石板健治围绕TIFF展映中国电影的历史进行了回顾。80年代后期，TIFF通 过展映中国第五代的电影作品与中国电影界建立了密切联系。90年 代初，TIFF因为放映田壮壮的作品《蓝风筝》而招致中国官方抗议 的事件之后，TIFF开始谨慎地只展映取得上映许可证即“龙标”的中 国电影。石坂特别强调，在2010年前后，因应产业环境的变化，一 些取得许可证的中国独立电影开始报名参加TIFF。一方面TIFF和其 他放映中国独立电影的日本影展之间的界限开始模糊; 另一方面,一些即使取得“龙标”的中国电影也会因“技术原因”临时撤档，这使得原有的电 影展映“必要条件”开始崩塌。石坂由此提出中国有关文化、政策机构应当正视此类问题，为中国电 影的海外展映创造更好的条件。
Senior programmer of the Tokyo International Film Festival (TIFF) Ishizaka Kenji looks back on the late 1980s when TIFF established close contact with the Chinese film world by showcasing many Fifth Generation filmmakers. But after an official protest in response to the screening of The Blue Kite by Tian Zhuangzhuang in the early 90s, TIFF has since limited their selection to only films with a screening permit (‘dragon seal’) from the Chinese state. Ishizaka details the shifting landscape after 2010 and the re-emergence of state-approved independent films. He considers the conflation between TIFF and other independent film festivals in Japan, as well as the instability of the ‘dragon seal’ license in practice, calling on the relevant Chinese administrative bodies to create better conditions for the international exhibition of Chinese films.
从《流浪北京》到《死灵魂》，然后…… ——中国纪录片与山形国际纪录片电影节的三十年
From Bumming in Beijing To Dead Souls…Thirty Years Of Chinese Independent Documentary At Yamagata International Documentary Film Festival
作者 Author:矢野和之 YANO Kazuyuki 翻译 Translator: 邱晔 Qiu Ye
在这篇文章中，现属山形国际纪录片电影节东京事务局、 CINEMATRIX公司代表的矢野和之回顾了山形国际纪录片电影节 展映中国纪录片的历史。1980年代末90年代初，正在寻找亚洲纪录片力量的初生的山形国际纪录片电影节与田壮壮、吴文光等中国导演相遇。1991年，受山形国际纪录片电影节邀请，吴文光在山形放映了《流浪北京》，并将自己在山形的所见所闻带回了中国，中国纪录片由此兴起。此后，越来越多的中国纪录片在山形上映并获奖。在这些作品丰富了山形国际纪录片电影节的展映内容与文化的同时，山形国际纪录片电影节也在持续影响着这些纪录片创作者以及他们日后的创作。矢野和之还提到，虽然在21世纪初这些在山形 获奖的纪录片在中国难以公映，但满怀热情的中国创作者和观众们 还是通过咖啡馆放映、独立电影节等渠道传播着影片。近年来，越来越多的独立电影节和独立放映迫于当局压力而取消;同时也有越来越多的创作者被迫出走海外。但矢野和之仍然相信中国的纪录片创作者们可以凭借多种多样的方式坚持创作，并继续为山形国际纪录片电影节带来力量。
In this article, Yano Kazuyuki, representative of CINEMATRIX, the Tokyo office of Yamagata International Documentary Film Festival (YIDFF), revisits the exhibition history of Chinese documentary in Yamagata. During the late 1980s and early 90s, directors like Tian Zhuangzhuang and Wu Wenguang came into the sight of a newfound Yamagata Festival, hungry for documentary films in Asia. Wu Wenguang was invited to show Bumming in Beijing in 1991 and took his experience back to China with him, initiating a groundswell of documentary filmmaking. More and more films have been screened and awarded in Yamagata since then, establishing a reciprocal relationship between filmmakers and festival. Yano also mentions that even though some of the awarded films during the early aughts cannot be officially released in China, passionate filmmakers and audiences have managed to circulate the films within café screenings and independent festivals. In recent years, even those venues had to close down due to pressure from the administration; many filmmakers had to relocate and operate abroad. But Yano continues to believe in the ingenuity and perseverance of Chinese documentary auteurs, and their contributions to YIDFF.
Green Image Film Festival (グリーンイメージ国際 環境映像祭): The Oldest International Environmental Film Festival In Asia
Green Image国际环境电影节:亚洲历史最久的国际环境影展
作者 Author: UZU Ruriko宇津留理子
This article delves into the history of the Green Image Festival and its mission of encouraging environmental films and promoting them to Asian and global audiences. The festival operates on both the international level, by highlighting environmental issues around the world for Japanese audiences, and the local level, by channeling film screenings for overseas events and education after the festival. According to programmer and committee member Uzu Ruriko, the festival has been important for several Chinese environmental filmmakers due to its capacity to connect to a larger international network of filmmakers and agents working to protect the environment, which encourages future productions, further career opportunities, and awareness of environmental issues.
本文回顾了Green Image国际环境电影节的历史、它作为亚洲首个环境电影节所面临(过)的挑战， 以及它鼓励与推广环境电影的目标。Green Image既连接国际电影作者和环境组织，用世界各地的环 境电影来推广环境意识和保护，也在影展之后深入本土，将获奖影片推广到地方活动、公司或学校 的层面。根据策展人/组委会委员宇津留理子的回顾，来自中国的环境电影作者更是通过这个电影节 获得了国际平台的认可或者新的工作、电影制作的机会。时至今日，Green Image仍持续努力地宣扬 环境保护与自然共生的意识，但同时也见证着环境电影的话题与视点随着时代所产生的改变。
中国独立电影与东京 Filmex 影展
Chinese Independent Cinema and The Tokyo Filmex International Film Festival
作者 Author: 市山尚三ICHIYAMA Shozo；翻译 Translator: 闻豪 Wen Hao
市山尚三曾经在东京国际电影节担任选片人，是东京FILMeX国际电 影节的现任总监。FILMeX于2000年由北野武工作室创立;其创立之 初已确立其特色在于放映作者性较强的亚洲电影，并与主要放映好莱坞大片与日本娱乐电影的东京国际电影节有所区别。作为日本主要影展策展人以及华语艺术电影(贾樟柯、侯孝贤等)的制片人，市山在这篇文字中对中国电影国际展映的微观历史作出了回顾。他指出，尽管因为中国审查制度等原因，未经中方审查的电影常在90年 代国际电影节上引起或大或小的冲突，但东京FILMeX国际电影节还是坚持自第一届起便开始展映中国独立电影。市山观察到2010年以来 中国电影产业所发生的变化，同时强调东京FILMeX至今仍然是展映各类优秀的中国独立电影制作 (包括取得龙标作品)的重要平台。
Ichiyama Shozo worked as a programmer for the Tokyo International Film Festival (TIFF), and is now the director of Tokyo FILMeX International Film Festival. FILMeX was co-founded by Office Kitano in 2000, setting itself apart from the more mainstream and commercial TIFF by focusing on Asian cinema, with an emphasis on auteurism. Having been a part of the history of Chinese films on the global festival stage, Ichiyama stresses the consistent effort by FILMeX to include Chinese independent films since 2000, despite various incidents involving the Chinese censors and international film festivals in the 1990s. Ichiyama observes the transformation of the Chinese film industry since 2010, and the importance of FILMeX in continually highlight independent productions (with or without state license).
大阪亚洲电影节所映射出的中国电影的变化与多样性
Transformations And Multiplicity: Chinese Cinema Through The Osaka Asian Film Festival
作者 Author: 晖峻创三TERUOKA Sozo；翻译 Translator: 闻豪 WEN Hao
在这篇文字中，大阪亚洲电影节(OAFF)的策展人晖峻创三 扼要地讨论了OAFF策展中国电影的历史。晖峻介绍道，OAFF 属于日本电影节中的晚进者。该电影节创办初期，不仅规模小， 而且展映影片和观众都受限;现如今，在策展团队等的努 力下，它已在以策展亚洲作品为主题的日本电影节中首屈一 指。从展映中国电影的具体经验来谈，晖峻认为，OAFF一方 面接受来自日本国内外政府资金的支持，另一方面在选片及相 关节目策划上强调并坚持自主独立，其选片与相关策划不受政府机构的审查与政府官员强制要求(撤片等)的干扰，到目前 为止尚未与中国(政府)合作过。大阪亚洲电影节上既放映过 低预算的中国独立电影，也放映过偏商业的中国电影，近几年 处于二者中间地带的中规模作品受到该电影节的关注。
This article is an historical account of the programming of Chinese films at the Osaka Asian Film Festival (OAFF) by programming director Teruoka Sōzō. Even though OAFF was a latecomer to the Japan festival scene, with limited scale and scope at the start, it has now become one of the top festivals of Asian cinema. In Teruoka’s experience, OAFF receives government funding within and outside of Japan while remaining autonomous in its film selection, and they believe in maintaining such autonomy, they should not subject their programming and selected works to any type of censorship or bureaucratic interventions, and thus so far the festival has yet to collaborate with Chinese governmental agencies. When it comes to its Chinese film selections, with both low-budget independent films and more commercial titles in past programmes, OAFF in recent years has set its sights on mid-budget productions between the two poles.
Celebrating A Diverse Chinese-Language Cinema Culture: Hiyoshi Festival Of Chinese Cinema At Keio University
倡导多元的华语电影文化:庆应义塾大学的日吉电影节
作者 Author: 吉川龙生YOSHIKAWA Tatsuo
2008的东京国际电影节，在现场担任翻译的吉川龙生将参加影展的中国影星借机邀请到了他所任教 的庆应义塾大学的日吉校区与学生和大众互动——这一场旨在提升中国电影知名度的活动，成为了 日吉电影节的起源。日吉的不同之处在于它是一个以大学为立足点的学术影展，该影展主要通过志 愿者、其他电影节策展人与日本电影人的合作，促成一个学生、大众与从中国应邀而来的电影作者 以及中国电影的研究者密切交流的环境。日吉电影节能够同时邀请到合适的独立电影与相应的嘉宾 (如东京中国独立电影节的策展人中山大树和日本导演滨口龙介等)的原因还在于其活动日程的弹 性与大学的资助。而与此同时，通过组织历年活动，吉川也注意到了年轻一代的中国独立电影人逐 渐对经济收益有所追求，也越发对于将来制作大片充满憧憬。
Yoshikawa Tatsuo took the opportunity of inviting guests at the 2008 Tokyo International Film Festival to Keio University and this launched the idea for the Hiyoshi Festival of Chinese Cinema. The festival is a university-based academic event marked by close interaction between guests either involved in, or knowledgeable of, Chinese cinema, and students and the general public. It relies heavily upon volunteers and outreach to festival organizers such as Nakayama Hiroki and filmmakers like Hamaguchi Ryusuke. With its scheduling flexibility and university funding, Hiyoshi Festival is able to select suitable independent films and cater to guest appearances and academic discussion. Yoshikawa also discusses the shifting balance between financial gain and ambition among young Chinese independent filmmakers.
一个“独立”的影展——东京中国独立电影展物语
An ‘Independent’ Film Festival: The Story of The Chinese Independent Film Festival in Tokyo
作者 Author: 中山大树 NAKAYAMA
中山大树在这篇自述中回顾了自己创办东京中国独立影展的经历:该影展于2008年在东京的艺术影 院举办首届，直到2015年的第五届影展为止，这个主要由中山与志愿者等主持、操办、运营的影展 一直致力于向身在日本的观众推介来自中国的独立剧情片与纪录片等。影展初期，除放映之外的其他环节，大部分工作都需要由中山一个人独立完成。影展后期，很多日本的大学等机构来参与合作 与赞助，同时，中国来的嘉宾数量也有所增加，观众群体也从中老年日本观众拓展到有不少居住在 日本的中国(年轻)观众的参与。但是最后由于经济压力以及中国电影产业变化等原因，该影展终止于第五届。
Nakayama Hiroki recounts his journey launching the Chinese Independent Film Festival in Tokyo in this article: from its debut in a Tokyo art house in 2008, to the fifth event in 2015, this festival was propelled by Nakayama and volunteers to present independent narrative films and documentaries from China to the audiences in Japan. At the outset, Nakayama single-handedly managed all but the actual projection of films. Later on, universities and various organizations would offer their support as the festival grew, which also saw more guests from China and a growing audience mixing older Japanese members and (young) Chinese expats. Due to financial strain and the changing Chinese film industry, the final curtain fell on the festival at the fifth event.
跨越电影·电视·戏剧的边界: 创作者们所创办的“座 · 高园寺纪录片电影节”
The Creator-Led Za-Koenji Documentary Festival: Crossing Boundaries Of Film, Television, and Theatre
作者 Author: 山崎裕YAMAZAKI Yutaka; 翻译 Translator: 罗霄怡 Luo Xiaoyi
身为“座·高园寺纪录片电影节”影展总监的资深摄影师山崎裕在这篇文章中回顾了这一纪录片电影节诞生 (创办于2010年)与发展的过程，并着重介绍了该影 展打破电影和电视纪录片之间的边界、跨越新旧之分 的初衷，而这个努力也启发了其他日本国内影展去重 新发现日本电视纪录片的重要性。山崎强调，以扩展 纪录片的可能性为原则，该电影节创办三个展映单元来回顾、展映不同层次和领域的纪录片，进而丰富和 扩充“纪录片”这个影像类别的含义。该电影节于第6 届(2015年)开始，陆续放映了胡杰、于广义、杜海 滨、雎安奇和章梦奇等导演创作的中国独立电影，许 多日本学者与相关人员也参与到展映和映后谈话等活 动中。
Serving as programme director of ZA-KOENJI Documentary Film Festival, veteran cinematographer Yamazaki Yukata emphasizes the relationship between the festival and Chinese independent cinema as he recounts the establishment (2010) and growth of ZA-KOENJI. According to Yamazaki, the festival develops three disparate selections to revisit and showcase documentaries in different themes and arenas, which also embody the core tenet of the festival to promote documentary cinema. The festival in turn also enriches and broadens the definition of the documentary genre, which extends to include TV documentaries, and it has also somewhat inspired the curatorial practices of other Japanese film festivals. Since the 6th event (2015), many independent films by directors such as Hu Jie, Yu Guangyi, Du Haibin, Ju Anqi, and Zhang Mengqi have been shown, with many Japanese scholars and film professionals incorporated into the screenings and panel discussions.
从东京遥看现代中国 ——“目击!独立纪录片”上映会
An Overview Of The Chinese Independent Documentary Screening Series In Tokyo Abstract
作者 Author: 土屋昌明TSUCHIYA Masaaki
专修大学的土屋昌明教授在这篇短文中介绍并回顾了自己与搭档共同举办的“目击”系列中国独立纪 录片放映会。在2018-2019年(新冠肺炎之前)，“目击”系列共举办了17场放映，有的场次还包括映 后问答、嘉宾谈话等。土屋教授所放映、讨论的纪录片多聚焦于社会边缘人群以及与中国当代史如文革和其它政治运动等相关的个人创伤经验等。除此之外，土屋也专门为导演胡杰及其作品举办了 多场放映及讨论会。上映作品的日语字幕经常由土屋教授以及/或他的学生协力翻译而成，而他本人 也通过组织系列活动获得了丰富的经验。
In this brief commentary by Tsuchiya Masaaki, he looks back on a screening series that he co-hosted, spanning across 17 events in 2018 and 2019 (prior to the COVID-19 pandemic). The Chinese independent documentaries he programmed tended to focus on untold stories of social minorities, as well as the traumatic experiences in PRC history, such as the Cultural Revolution, told from personal and alternative perspectives. When screened, these works were often accompanied by subtitles translated by Tsuchiya and filmmakers in panel discussions. Tsuchiya has been a major advocate of director Hu Jie, and gained valuable experience facilitating many of his screenings.
去山形的路
The Road to Yamagata
作者 Author: 吴文光 Wu Wenguang
吴文光在这篇一万多字的原创文字中回首自己独立电影的创作伊始就与日本结下的不解之缘。日本是吴文光第一次出国及参加影展的地方，山形国际纪录片影展也是吴参加过的次数最多的影展。在这篇动情的文字中，吴细数了自己在前往山形的道路上—意即他在纪录片创作道路上——所结识的 来自日本国内外的电影导演、学者、策展人等等，其中小川绅介大概是其中最关键的一位。1991年吴在山形有机会拜访小川的工作室，在该工作室习得的“纪录片精神”对吴此后30年间的纪录片创作与思考产生巨大影响。同时，吴也强调所谓“反小川”的原一男也是对自己产生重要影响的导演之一， 原一男创作纪录片时的“少产精做”和指向社会问题的尖锐性与深刻程度给吴留下了深刻印象。
In this ten-thousand-word piece of autobiographical writing, Wu Wenguang explores the close ties between himself and Japan since the beginning of his independent filmmaking career. Japan was Wu’s first foreign trip to a film festival, and the Yamagata International Documentary Film Festival is the festival he has attended most frequently. In this moving tale of the road to Yamagata—his documentary- making journey—Wu details the directors, academics, and programmers he got to know, of whom Ogawa Shinsuke left an indelible mark. Wu visited Ogawa’s studio in Yamagata in 1991 and absorbed the ‘documentary spirit’ that greatly impacted his own mode of filmmaking and thinking. Meanwhile, Wu credits an equal influence from the ‘anti-Ogawa’, Hara Kazuo, namely Hara’s succinct and polished output and sharp social critique.
点燃导火线的火苗:中国纪录片导演和怀斯曼的相遇
The Spark that Lit the Fuse: Chinese Documentary Directors’ Encounter with Frederick Wiseman
作者 Author: 秋山珠子AKIYAMA Tamako; 翻译 Translator: 罗霄怡 LUO Xiaoyi
很多人注意到中国独立纪录片所受到的直接电影的影响，却很少人知道直接电影和中国独立导演的第一次相遇发生在1993年的日本山形——可以说当初点燃导火线的火苗在21世纪初形成了燎原之 势。1993年吴文光等中国导演在日本山形国际纪录片影展上与怀斯曼及其电影相遇，秋山珠子作为当年的翻译和旁观者记录下了这一过程。秋山回忆道，当年参加电影节的吴文光、段锦川和郝志强 三人在山形影展上与佐藤真等亚洲导演进行积极交流，同时他们也通过该影展得以观看怀斯曼用直 接电影手法拍摄的《动物园》。秋山强调，观影后三位导演被这种直接电影的拍摄方式所震撼，他们回国后开始不断组织相关电影的放映会和讨论会以及通过写作、出版等方式，这些活动随即影响到多位中国导演。数年后，随着数字化浪潮的到来，电影成本显著降低，许多受到影响的中国导演开始拍摄带有直接电影因素的纪录片，并积极参加各国电影节。
While many people note the influence of direct cinema on Chinese independent documentaries, few know that the first encounter between direct cinema and Chinese independent filmmakers took place in Yamagata, Japan in 1993—and that the spark that lit the fuse in the first place kindled a great fire in the world of Chinese documentary filmmaking at the beginning of the twenty-first century. At the 1993 Yamagata International Documentary Film Festival, Akiyama Tamako worked as a translator for attendees Wu Wenguang, Duan Jinchuan, and Hao Zhiqiang. Akiyama narrates the day during the festival when they saw Zoo by Frederick Wiseman and were struck by its observational style. After the festival, Wu would bring many of Wiseman’s films back to China, and showcase them to friends in screening and discussion groups hosted at his house, as well as writing about them. Several Chinese directors began to emulate Wiseman’s methods. Although the direct cinema boom emerged from the advent of digital technology, its origins can be traced back squarely to that screening of Zoo in Yamagata, 1993.
Time Traveling through Asian Documentary’s Pasts and Futures
穿越亚洲纪录片过往与未来的时间旅行
Author 作者: Markus NORNES ⻢克·诺恩斯
This essay examines a very special event that took place immediately following the 2009 Yamagata International Documentary Film Festival. The director of that festival, Fujioka Asako, stayed in northern Japan and held back the young Chinese filmmakers. They retreated to a tiny village deep in the mountains, a place made famous by in his penultimate film. Fujioka called in the cinematographer of that film, along with several directors of the same generation. They held a ‘dojo,’ a school where the veteran independent filmmakers from Japan taught the younger generation of independent filmmakers from China. They watched films, shot and hand-developed Super-8 films, and held discussions deep into the night. It was evident that the independent scene of present-day China looked very much like that of Japan in the 60s and 70s—a kind of time slip in the mountains.
本文回顾的是2009年山形国际纪录片电影节落幕后随即进行的一次非常特别的活动。当时任职影展主席的藤冈朝子让一些年轻的中国电影作者继续留在日本北部。他们一同暂时隐居到古屋敷村—— 这座曾经因小川绅介生前倒数第二部纪录片作品而广为世人所知的小山村。藤冈把纪录片《日本国 古屋敷村》(1982)的摄影师以及与小川同世代的数位独立影像作者请到了现场。他们共同组建了一个 “道场”，也就是日本资深独立电影人教授年轻中国影人的临时学堂。数日之间，参加者们一同观赏电影，也一起拍摄和冲洗超8毫米胶片电影作品，并长谈至深夜。这场近乎时空交错的山中奇谭，也 在当时印证了为什么当代中国独立电影的状况与日本六、七十年代独立影像制作的景观是如此地相似。
Kunming, Yunnan: The Land Where Documentaries Begin to Dawn
云南省昆明市:纪录片黎明的所在
Author 作者: TSUCHIMOTO Noriaki 土本典昭 Translator 翻译: Michael TSANG 曾逸谦
In this series of interconnected four essays translated by Michael Tsang, documentary director Tsuchimoto Noriaki reflects on his experience as an invited guest at the 2005 Yunnan Multi Culture Visual Festival (Yunfest). In particular, he considers the particular position of Yunfest and Yunnan within the ecology of Chinese independent filmmaking; the experience of screening his documentary On the Road at the festival; the specific culture of Yunfest as an event, from networking to informal exhibition practices; the relationship between Japanese and Chinese documentary filmmaking; and what it was like talking to a class of ethnic minority visual anthropology students at the Yunnan Academy of Social Sciences.
由Michael TSANG (曾逸谦)所翻译的这一系列相互关联的四篇散记中，纪录片导演土本典昭回顾了 他作为受邀嘉宾参加2005年云之南记录影像展(Yunfest，云之南)的经历。土本特别讨论了云之南和云南在中国独立电影生态中的特殊地位;他自己在云之南影展中放映他的纪录片《在路上》的经历;云之南从建立网络到非正式的展览实践等方面作为活动所具有的特定文化;日本与中国纪录片制作之间的关系;以及与云南社会科学院视觉人类学项目的少数民族学生交谈的感受。
相遇(日本、纪录片，那些人，那些事)
Encounters (Japan, Documentary, Those People and Those Events)
作者 Author: 冯艳FENG Yan
在这篇动情的叙述中，冯艳将自己的纪录片事业与日本电影人、电影文化圈相互交汇、得到创作灵感并获得人生重要启发的缘分娓娓道来。从在她留学阶段引导她走上纪录片之路的导师般的人物野中章弘开始，冯艳回忆了自己身兼导演、策展人(联络者)和翻译者等多重身份与中日纪录片交流 密切相关的数十年旅程。同时，凭借她令人惊叹的洞察力，冯艳也在某种看似日常、私人的讲述中，深入浅出地介绍了数位日本前辈影人、纪录片工作者立足于自己的时代、从现场出发的理论与方法论(小川绅介、土本典昭、菊池信之、佐藤真等人)，并谈到这些理念如何与自己对纪录片的理解形成了碰撞，并不断激励着自己进行勇敢探索。
In her moving account, Feng Yan has shared with us how her documentary career has intricately intersected with the trajectories of Japanese filmmakers and the Japanese film culture scene, from which she has acquired lots of inspiration for both her life and work. Starting with her mentor, Nonaka Akihiko, who introduced her to the world of documentary while she was a PhD student at Kyoto University, Feng recalls her decades-long journey as a director, curator (coordinator) and translator apropos Sino-Japanese documentary exchanges. At the same time, with admirable insight, Feng also introduces the theories and methodologies of several former Japanese filmmakers and documentarians (Ogawa Shinsuke, Tsuchimoto Noriaki, Kikuchi Nobuyuki, Sato Makoto and others) that are grounded in their own social context and location-based. And she talks about how these visions have illuminated her own understanding of documentary filmmaking and continued to inspire her practices.
囿于限制而生的自由——以《和凤鸣》的字幕制作为例
The Liberty Coerced by Limitation: On Subtitling Fengming: A Chinese Memoir
作者 Author: 秋山珠子 AKIYAMA Tamako 翻译 Translator: ⻢然 MA Ran
这篇论文涉及了翻译理论的历史，其中的例证不乏译者对自己是如何将文本从一种语言转换为另一 种语言的思考，以及他们是如何运用象征手法来对译者的任务进行理论化的工作。作者曾主修日本 文学、中国美学与当代哲学，也是一位资深的字幕翻译家。在这篇文章中，她诠释了自己为王兵的 《和凤鸣》翻译字幕的经验。她首先提出了一个有关电影翻译的普遍规则，即面对时间空间上的极度限制， 字幕制作者常常感叹他们必须与诸多限制相互抗衡， 并羡慕那些看似拥有更大自由度的文学翻译者。但字幕的严格制限也能创造某种自由。秋山的文章用《和凤鸣》的字幕来说明翻译实践中潜在的实现自由的可能性。
关键词:中国;电影;纪录片;影像;和凤鸣;翻译;字幕;王兵
This essay steps into the long history of translation theory, which is replete with examples of translators contemplating their own work of transporting a text from one language to another and deploying metaphors to theorize the task of the translator. The author, a student of Chinese aesthetics and contemporary philosophy, is also a veteran subtitler. In this essay, she describes her own subtitling of Wang Bing’s Fengming: A Chinese Memoir. She begins with a common observation about film translation: Facing extreme limitations in space and time, subtitlers often mourn the many limitations with which they must contend and look with envy at the translators of literature, who appear so free. But the strictures of subtitling can also produce a certain kind of freedom. Akiyama’s essay uses the subtitles for Fengming to illustrate the liberatory possibilities hidden within the act of translation.
Keywords: China; cinema; documentary; film; He Fengming; translation; subtitling; Wang Bing
亚际参照与弱势跨国:中国立酷儿影像在日本的传播
Inter-Asia Referencing and Minor Transnationalism: The Dissemination of Chinese Independent Queer Films in Japan
作者 Author: 于宁YU Ning
本文在酷儿亚洲研究的脉络中，在“亚际参照(inter-Asia referencing)”和“弱势跨国主义(minor transnationalism)”理论框架下，聚焦中国大陆独立酷儿影像生产及其在日本的跨国传播实践，分析造成中国独立酷儿影像，特别是酷儿社区影像传播困境的原因，探讨中国独立酷儿影像对日本酷儿文化潜在的参照意义，以及 “弱势跨国主义”在应对中日酷儿社区影像文化交流中依赖西方中介及受商业可行性限制等状况上的可能性。
关键词:中国独立影像，中国独立酷儿影像，亚际参照，弱势跨国主义，酷儿影展，日本传播
Situated in the context of Queer Asia Studies, this article examines the production of independent queer films in mainland China and their dissemination in Japan. Drawing on the critical concepts of ‘inter-Asia referencing’ and ‘minor transnationalism’, I investigate why it’s difficult to disseminate Chinese independent queer films in Japan, especially queer community works; discuss what kind of inter- referencing Chinese independent queer films can offer Japanese queer culture; and then suggest the possibilities that minor transnationalism offers for dealing with these difficulties of dissemination, including the Euro-America-centrism which has dominated the cultural exchange of queer films between China and Japan, and the constraints on accepting queer community work due to the emphasis on the financial viability of film festivals.
Keywords: Chinese independent films, Chinese independent queer films, inter-Asia referencing, minor transnationalism, queer film festivals, dissemination in Japan
中国独立纪录影像与日本的不解之缘——与日本媒体工作者野中章弘的一次纵深谈
Chinese Independent Documentary’s Hidden History with Japan: An In-depth Conversation with Producer, Journalist Nonaka Akihiro
访问者 Interviewer:土屋昌明TSUCHIYA Masaaki
野中章弘是致力于为亚洲自由职业记者提供报道平台的Asia Press International的创立者。90年代初，日本的电视节目开始接受用便 携式摄像机记录的素材，且电视台愿意出资寻找来自亚洲的影像作者拍摄报道在地的素材。于是野中开始通过Asia Press International与中国和亚洲其他地区的年轻人合作，并培养后者用数码摄影机为日本的记录新闻类节目进行纪录专题的创作。通过土屋对野中的访谈，我们了解到野中一方面拓展了中国纪录片作者与山形国际纪录片电影节的联系;另一方面，直到2000年初期，野中持续为创作者们提供了以电视台节目为主的发布作品的空间，旨在发掘未知的中国，和坚持对真实的记录。独立纪录片作者季丹、冯艳和胡杰都是在野中的技术支持与影响下开始记录创作的。
Nonaka Akihiro is the founder of Asia Press International. As Japanese television started to adopt camcorder footages and fund local filmmakers for programs on Asia in the early 90s, Nonaka collaborated with young people in China and trained them to work with cameras for TV documentary production. In this interview between Nonaka and Tsuchiya Masaaki, we learn about the network extended by Nonaka between Chinese independent filmmakers and Yamagata International Documentary Film Festival (YIDFF), as well as how Nonaka enabled filmmakers to deliver exploratory and authentic work in television until the early 2000s. Independent documentary auteurs such as Ji Dan, Feng Yan, and Hu Jie all began their careers with the support and influence of Nonaka.
记录、创造、与中国独立电影的未来——导演⻩骥、大塚⻰治访谈
Document(ing), Creativity, and the Future of Chinese Independent Cinema: An Interview with Directors Huang Ji and Otsuka Ryuji
整理者 Document compiler:吉川⻰生 YOSHIKAWA Tatsuo
这篇学术访谈录记录了2018年12月在庆应义塾大学日吉校区举办的日吉电影节2018上中国导演黄骥与日本导演大塚龙治的座谈会的情况。前半部分，座谈会从大塚龙治导演为什么辞掉日本电视台的工作去中国学电影、黄骥导演如何创作第一部电影等话题开始，之后主要是两位导演分享他们共同参 与(日本)电视纪录片的制作工作的经验。从中我们了解到两位导演如何确立自己的拍摄、制作的方法。后半部分，话题转到了关于独立电影的“独立性”的讨论上。参与者首先谈及摄影、剪辑设备的发展所引起的制作系统的变化，之后又就前者的变化是如何影响到整个中国独立电影界的制作情况等话题展开了讨论，同时大家也谈及当时(2018年)中国独立电影界的情况。通过了解黄骥、大塚两位导演从事电影制作的历程，我们也回顾了2000年代以来的中国独立电影的状况，部分参会者指出当下有可能已经进入了“后独立电影”时代，这种看法值得注意。
This is an interview transcript of Chinese director Huang Ji and Japanese director Otsuka Ryuji at the Hiyoshi Festival on the Hiyoshi Campus of Keio University, December 2018. We learn about their initial entry points into TV documentary production for Japanese TV stations, and how they developed filmmaking techniques. In the latter half of the interview, the conversation centers around the ‘independent’ aspect of independent cinema. Developments in cinematography and editing technology led to changes in the production process and subsequently the production conditions of the Chinese independent film industry. Through the experiences of the two directors, we see not only the (current) situation in 2018 but also a larger picture of the industry after 2000 in China. The panel participants weigh in on the idea of ‘post-independent cinema’ and its implications.
小川绅介与香港社会运动纪录片文化的关联—策展人与纪录片作者们的访谈系列
Ogawa Shinsuke’s Connections with Hong Kong’s Social Movement Documentary Culture –An Interview Series
访问者 Interviewer:李铁成 LI Tiecheng
在这篇群访中，李铁成采访了七名香港独立影像工作者，其中包括电影学者、独立纪录片作者、香 港独立电影节策展人和NGO“V-artivist”(影行者)部分成员等。文章以小川绅介的电影创作为核心，从其制作纪录片的态度、影像风格、作者与被拍摄者之间的关系，以及独立影像放映发行等层 面，探讨十年来小川对于香港独立纪录片，尤其是社会运动纪录片的影响。访谈以2008-2012年菜园 村事件为核心展开，力图根据七位受访者在独立电影创作和放映上的亲身经验，从不同角度反思小川与香港独立纪录片的关系，呈现出香港与众不同的独立纪录图景。
This is a compilation of interviews between Li Tiecheng and seven Hong Kong independent film workers, including film scholars, independent documentary directors, the curator of the Hong Kong Independent Film Festival, and NGO members of ‘V-artivist’. Focusing on Shinsuke Ogawa’s film practice, the article discusses his influence on Hong Kong independent documentaries in the past decade, especially on social movement documentaries, from the perspective of Ogawa’s attitude towards documentary production, his film style, the relationship between the director and their characters, as well as the screening and distribution of independent films.