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IDF论坛 | 亚洲纪录片联盟:纪录片的“ 表达-传达-抵达 ”

中国美术学院电影学院  · 公众号  ·  · 2024-10-22 20:55

正文




第七届西湖国际纪录片大会论坛


亚洲纪录片联盟论坛

纪录片的“表达-传达-抵达”

Asian Documentary Alliance Forum|Expression, Conveyance and Arrival in Documentaries @ 2024 West Lake International Documentary Film Festival



时间 | 2024年10月26日 上午10:00 – 12:00

地点 | 中国美术学院象山校区11号楼201 文创中心报告厅

10:00-12:00,Oct.26th,2024

Xiangshan Campus, China Academy of Art

Lecture Hall 201, Building No.11



主题

Theme



表达、传达、抵达:纪录片创作者如何兼顾全球吸引力与地域文化的细腻表达?在当下需求多元化而生产过剩的影像世界中,纪录片如何有效地抵达受众?


Expression, conveyance and arrival: How do documentary creators balance global appeal with the delicate expression of regional culture?  What are the best ways to reach audiences in an overwhelmingly diverse and oversupply situation?



背景

Background



科技的革新常此以往的塑造和改变着人类的感知与表达。从90年代末DV进入中国,到如今全民化触手可得的技术资源与录像设备,纪录片的创作与观看方式发生许多改变。过去25年来,中国纪录片从独立地下到走向世界舞台,经历了一个从表达自我到隐藏自我,直到彰显自我的发展历程。事实上,全球一体化的当下,人类面对的伤痛和问题是相近且相互作用的。 IDF将来自全世界的纪录片收集起 来,影展本身即是“共·生”的概念呈现的行为,既折射出不同地域电影文化和发展之间的 差异,同时又是一个可以重新审视本土电影发展的机遇。亚洲纪录片联盟论坛通过检视IDF收到的纪录片,发觉本土纪录片与国际纪录片在身份表征、创作理念、影像表达诸方面均有着各自的不同面貌。


The arrival of digital video (DV) in China in the late 90s and the widespread access to technological resources and video equipment have significantly changed the creation and screening of documentaries. Technological revolutions have always influenced human perception and expression. In the last 25 years, Chinese documentaries have transitioned from being underground to gaining international recognition. This evolution goes through a period from self-expressing to hiding the self to self-revealing. In the era of globalization, people encounter similar challenges, and their experiences are interconnected. In fact, in the current era of globalization, the pains and problems faced by people all over the world are very similar and influence each other. IDF collects documentaries from all over the world, which is an act that presents "symbiosis". These films reflect the differences between film culture and development, which is another opportunity to re-examine the development of local films. Examining the local Chinese and international documentaries received by IDF in recent years, we found the following visible characteristics and differences in terms of identity, creative concepts, and film approach.


(1)纪录片如何兼顾全球吸引力与地域文化的细腻表达?本土青年电影人常聚焦于自身的困境与表达。通对自我的认知强化,自我与社会关系的不同变奏,丰富了华语纪录片的“在地性”。而海外纪录片更具多样性与前瞻性,关于战争、流离失所、移民、难民的生存困境成为中心议题。但是创作者从“我”出发作为故事的参与者和观察者,创作视角是否会受到限制?

a)How can documentaries balance global appeal with the delicate expression of regional cultures? Young Chinese filmmakers prefer to focus on their situations and experiences. These documentaries enriched "site-specific" by reinforcing self-cognition and the diverse variations of the relationship between self and society. Meanwhile, overseas documentaries are typically diverse and outward-looking, with issues such as the plight of war, displacement, migration, and refugees becoming key themes.


(2)探究私影像的存在与传播价值。在此次IDF选片中,“私影像”成为本土纪录片中最常见的创作类型。近年来,“私影像”并不是新的创作方式, 但可以说是一种新的创作趋势。它以私人的生活与观点为内核,以影像纪实为载体,以其从自身见他者来引发观者共鸣。而流媒体影响传播模式与短视频时代使得人们更关注自身的表达并且习惯性分享私人生活,为当下“私影像”创作提供了土壤。

b)We aim to explore the concept and significance of "self-documentary". In this IDF selection, "self-documentary" has become the most popular category of local documentaries. In recent years, "self-documentary" has emerged as a new trend in creation. It focuses on personal life and viewpoints, using documentaries as its medium to evoke resonance in the audience by showing the perspective of others through the lens of the self. The influence of streaming media and the era of short videos have driven people to focus on their self-expression and share their everyday lives, providing the soil for nourishing "self-documentaries" nowadays.


(3) 近年来,“电影节电影”逐渐呈现出一个新现象,即同地区的纪录片在议题上的同质化问题。从纪录片的关注点上能洞见一种“共·生”关系。纪录片是否在未来会逐渐趋向类型片的发展?造成这样现象的原因是什么?

c)In recent years, a new phenomenon has shown in “film festival film”, the phenomenon of homogeneity in content and topics among documentaries from the same region. A kind of "symbiotic" relationship can also be seen from the content and theme of the documentary. Will documentaries gradually develop into genre films in the future? What is the reason for this phenomenon?


本场论坛将尝试从产业链的上下游的视角进行探讨,分别由创作者、传播者、电影节展几个领域经验丰富的专家与作者提出观点与洞见,再进行交互评议与论证。

This forum will try to discuss it from the perspective of the upstream and downstream of the industry chain. Experienced experts and authors in the fields of creators, communicators, and film festivals will provide opinions and insights, and then conduct interactive reviews and discussions.



流程

Process


10:00 – 10:10

开场致辞与论坛背景介绍 – 电影学院院长徐小明

Opening speech and forum background introduction – Hsiao-Ming HSU, Dean of the School of Film Art



10:10 – 10:35

全球纪录片传播渠道的演变 – 保罗·路易斯

The evolution of global documentary distribution channels – Paul Lewis


10:35 – 10:45

创作者追寻与选择的路径 – 潘志琪

The path pursued and chosen by creators –  Zhiqi Pan


10:45 – 10:55

媒体如何助力作品的传播 – 丁天

How does the media help the dissemination of works – Tian Ding


10:55 – 11:10

国际电影节对电影传播与发行的影响 – 马可·穆勒

The impact of international film festivals on film communication and distribution – Marco Müller


11:10 – 11:20

茶歇

Tea time


11:20 – 12:00

圆桌论坛 – 陈玲珍主持及全部嘉宾座谈

Roundtable Forum – Hosted by Ruby Chen with all guests




嘉宾

Speakers



丁天

Tian Ding


作家、影视访谈人、电影工作者。著有影人访谈故事集「青春三部曲」:《骄傲是另一种体面:我与她们的骄傲,写给30岁前的你》(2021)、《29+1种相遇方式》(2018)及《天意眷顾倔强的你》(2014)。2024年主编新书《看得见的她》。曾任「好莱坞文娱圣经」Variety杂志中国版2020-2022主编。曾工作于安乐公司,及《大众电影》《嘉人》《时尚芭莎》(男女刊)等知名时尚与电影杂志。现任澳门国际纪录片电影节艺术总监,兼任澳门恋爱・电影馆选片顾问。曾任首届澳门纪录片竞赛终审评委、第三届IM两岸青年影展初审评委、2022釜山国际电影节亚太青年线上影展专业选片人等。


Tian Ding is a writer, film interviewer and podcast creator. She is the author of the book "Trilogy of Youth" which includes "Pride is Another Kind of Dignity" (2021), "29+1 Ways of Encounters" (2018), and "Fate Favors the Stubborn One" (2014). Ding is the granddaughter of the film couple Ding Ran (known for WOMEN BARBER) and Zhang Hongmei (known for SPRING IN A SMALL TOWN and DEATH RAY ON CORAL ISLAND). Currently, she serves as the Artistic Director of the MOIDF. Previously, she was the Editor-in-Chief of the Chinese version of Variety from 2020 to 2022.



马可·穆勒

Marco Müller


电影节艺术总监、国际电影学者、电影制片人。被誉为将中国电影推向世界的第一人。1981至1995年,一直担任威尼斯电影节亚洲电影顾问。1981年在都灵组织创办的“电的影子”(Electric Shadows)电影节并担任总监,先后担任佩萨罗(1982-1989)、鹿特丹(1989-1991)和洛迦诺(1992-2000)电影节总监。2004年到2011年,担任威尼斯国际电影节总监,2012年到2014年,担任罗马电影节总监。与此同时,作为一名电影制片人,其多部作品获得国际奖项认可,荣获包括奥斯卡最佳外语片奖及戛纳、威尼斯国际电影节顶级奖项在内的多项大奖。因对中国电影做出的卓越贡献,他还曾荣获中国国务院颁发的“友好贡献奖”和上海市“白玉兰奖”。2024年他做创意制片人的《星星与月亮》参加了A类圣塞电影节新导演竞赛及在平遥影展获得了藏龙单元的最佳导演荣誉。


Subsequently director of the film festivals of Pesaro (1982-1989), Rotterdam (1989-1991), Locarno (1992-2000), Venice (2004-2011) and Rome (2012-2014). Head-programmer of Beijing and Fuzhou Silk Road IFF (2015), initiator and director of Macao IFFA (2016), co-initiator and director of the Pingyao IFF (2017-2020), director of the Hainan IFF (2022), initiator and director of the Macao Festival of Young Cinema (2023), director of the Taormina Film Festival (2024). Director of the Huub Bals Fund (1990-1991), Montecinemaverità Film Fund (1993-2000, Switzerland) and the South/East Cinema Fund (2000-2004, Italy). Has produced or co-produced 11 features that include award-winning movies (Academy Award for Best Foreign Film, top-tier honours in Cannes, Venice and other major festivals). He is also the recipient of over twenty major awards in eleven countries, such as Special Prize for Art and Culture, Japan Foundation (2008), Order of Friendship, Presidency of Russian Federation (2009), Award of Friendship, The State Council of the People’s Republic of China (2010), Award for Outstanding Contribution to the World Festival Movement,  Golden Apricot Yerevan International Film Festival (2011), Magnolia Award, Shanghai Municipal Committee (2023), Huilin Wenhua Jiang/Huilin Culture Award, Beijing Normal University (2024).



保罗·李维斯

Paul Lewis


保罗·李维斯是世界科学与纪实制作人大会的总监,曾任加拿大探索电视网的总裁兼总经理,负责所有频道的日常运营、业务和战略规划,并管理制作与发行部。他还与日本放送协会、中国中央电视台等国际广播电视平台建立了战略合作伙伴关系。保罗是多个国际市场和纪录片节展的评委、发言嘉宾,也是广州国际纪录片节的首席顾问。他监制了多部科学纪录片,包括最新一部的加澳合拍项目《成功的科学》,以及加拿大公共广播公司出品的《少年与失落的玛雅城》。


As Conference Director of the World Congress of Science & Factual Producers (WCSFP), Paul was President and General Manager of Discovery Networks in Canada where he was responsible for day-to-day operations for all its channels, business and strategic planning and running a production and distribution division. He also created strategic partnerships with international networks such as NHK and CCTV.  Paul is a judge, speaker and panelist at international markets and documentary festivals and is the consultant-in-chief for the Guangzhou International Documentary Festival.  He also executive produces various science documentaries including most recently The Science of Success, a Canadian-Australian co-production, and The Teenager and the Lost Maya City for the CBC, Canada’s public broadcaster.



潘志琪

Zhiqi Pan


纪录片导演,浙江传媒学院副教授。代表作品有纪录片作品《迷藏》《二十四号大街》《胡阿姨的花园》《逐花人》等。《胡阿姨的花园》获第二十六届上海国际电影节金爵奖最佳纪录片,并于近日成功入围第29届釜山国际电影节广角镜纪录片竞赛单元。《二十四号大街》获亚洲纪录片提案会优胜奖。长片入选第30届荷兰阿姆斯特丹国际纪录片节长片竞赛单元,获西湖国际纪录片节优秀纪录长片和第55届金马奖最佳纪录片提名。


Zhiqi Pan, a documentary filmmaker and associate professor at the Communication University of Zhejiang, teaches documentary creation courses at the university. He has directed documentaries including: 24TH STREET, FLOWER CHASERS, and MS.HU’S GARDEN. MS.HU’S GARDEN won the “Best Documentary Film” award at the 26th Shanghai International Film Festival and was recently selected into the Wide Angle-Documentary Competition at the 29th Busan International Film Festival. The feature-length documentary 24TH STREET was selected for the main competition of the 30th  Amsterdam International Documentary Festival and won the Best Documentary Film at the 6th West Lake International Documentary Festival, and nominated for Best Documentary at the “55th Taipei Golden Horse Awards”.



林鍵均

Penny LAM Kin Kuan


澳门大学新闻及公共传播系学士毕业后,在澳门文化局奖学金资助下,赴伦敦大学金匠学院修读电影纪录片硕士。2007年开始电影创作。担任剪接师之电影曾入选台北金马影展、香港国际电影节、新加坡国际电影节等影展。亦曾受邀担任里斯本国际电影节、台北电影节、台湾国际纪录片影展、平遥国际电影展等影展评审。2016年创办澳门国际纪录片电影节(Macao International Documentary Film Festival), 任影展总监至今。自2023年9月起,同时兼任担任恋爱‧ 电影馆节目总监。


After graduating from the University of Macau, LAM was awarded a scholarship from the Cultural Affairs Bureau of Macau to pursue a master’s degree in Screen Documentary at Goldsmiths, University of London. LAM began his filmmaking career in 2007. Besides working as a director, his works as an editor have been selected for festivals such as the Taipei Golden Horse Film Festival,  Hong Kong International Film Festival, and Singapore International Film Festival. He has also been invited to be a jury member for Indie Lisboa, Taipei Film Festival, and Taiwan International Documentary Film Festival. In 2016, LAM founded the Macao International Documentary Film Festival and has served as its festival director since then. From September 2023, he has been appointed as the programming director of Macao's Cinematheque.









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