觀映線索 clue of viewing|紀錄片好悶?documentary is boring?

(click for english version)

有一種對電影的判別是悶/有趣。其中涉及的因素有很多:個人興趣,集中力,影片節奏,鏡頭,觀映環境等等,而最終得出悶/有趣的判斷,與其說是主觀習慣與客觀條件的綜合,不如說是個人以習慣喜好對影片作出過濾,篩選所出。

站在紀錄片的角度,真實發生的故事,有趣/悶的標準可以作為一種引起關注的方法,但紀錄片的價值,在於述說事實的重要性。

尤其是當要述說被壓迫者的故事。在社會中被視而不見的人和事,被認為是瑣碎粗鄙的言語,要如何述說?如果經由剪輯,構作出社會主流所認同的清晰/流暢/簡潔,那麼真實的人依舊不被看見。

不是要代人發聲,而是要讓人可以發聲。那麼紀錄片嘗試述說事實之時,如何忠實的呈現,又不讓被壓迫者暴露在更多的暴力中?如何避免簡化,同時又讓更多人明白?在這流動的平衡中,對人的尊重,對被拍者的尊重,便是唯一可以為度的準則。

而作為觀眾,如果越過悶/有趣等個人喜好,買飛入場等文化習慣,我們其實可以看到更多:從鏡頭,畫質,器材,取境的限制與不足,看見真實溢出故事外的痕跡,看見說故事的人在各種拉扯中最終找到的平衡點。從或冗長或瑣碎或零亂或重複的平凡言語和故事,看見人,以及對人的尊重。

對,誠實以及尊重如果是作為拍攝者與被拍者建立關係的原則,也可以亦應該作為觀眾與他們建立關係的方法。

本觀映線索包括:
未存在的故鄉 第一部:[只隔一江水]未存在的故鄉 第二部:[賭局]未存在的故鄉 第三部:[移.住.迴旋]拋下恐懼抗爭去家有核鄰鐵怒沿線-菜園紀事及蓽路藍縷鐵怒沿線-三谷可行的另一種生活:向加泰隆尼亞致意II勞工自拍:全球化地境收割,開路!


a film could be judged as boring or interesting, some say. to judge whether a film is interesting or not involves a number of factors: personal interests, viewers’ concentrating ability, film’s tempo, camera movement, viewing environment, etc. instead of a mixture of objective and subjective conditions, these factors above to a large extent also reflect our own interest-based inclination to choose the films we like.

in terms of judging a documentary, which reflects what exactly happened in our world, “how interest it is" could have been a way to attract people’s attention. but the essence of documentary lies in the importance of the truths being recorded.

in many cases documentaries talk about the life stories of the oppressed. then, how to narrate those marginalized social groups? how to present their own language which, however, was considered trivial and vulgar by the mainstream society? if these oppressed stories have to be edited according to the standard set by the mainstream society, such as coherence and tidiness, the true face of the oppressed would have still remained unseen.

we are not speaking for somebody. instead, we want to let them speak. when we use documentary as a medium, how can we, on the one hand, reach as close as we can to actuality without exposing the oppressed to more violence? how can we make more people understand the truth without over-simplification? embedded in these dilemmas, perhaps, our respect to human beings and to those being filmed becomes the only principle to follow.

as audience, if we go beyond our daily habit to judge a film based on “how interesting it is", maybe we can discover more. The restriction of filming equipment, shooting condition and image quality may exactly reveal the authenticity within and perhaps shows the film maker’s intention to set a balance. presenting the seemingly boring language, the tedious, redundant, fragmented and repetitive expression, to a large extent, is seeing the real human beings, and to show respect to human beings.

true is that, if honesty and respect make the principles of establishing a good relationship between the filmmers and the filmed, they should also be applicable between the audience and those in the films.

this clue includes:
exodus of nowhere – episode 1: the river is wideexodus of nowhere – episode 2: gambleexodus of nowhere – episode 3 rondo for the dis/placedditching the fearthe thing next dooranother life is possible: homage to catalonia IIopen road after harvest!

 

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