IDF论坛 | 亚洲纪录片联盟：纪录片的“ 表达-传达-抵达 ”

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.

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).