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《龙船》影评

(2012-12-18 15:55:00)
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龙船

杂谈

分类: 媒体报道


文:James Mudge (英国非主流影片网站www.beyondhollywood.com及全球亚洲影片销售网Yes Asia首席撰稿人)


 “Dragon Boat” is the latest film from acclaimed Chinese director and artist Cao Dan, a feature documentary which charts the effects of modernisation on the tradition of dragon boat racing. Having played to critical praise at the Yunnan Multi Culture Visual Festival and DMZ Korean International Documentary Festival, the film is now set to have its UK premiere at the 2012 Chinese Visual Festival in London.

《龙船》是中国导演兼艺术家曹丹最新的长纪录片,讲述了现代化对传统的龙舟竞渡的影响。该片在云之南影像展和韩国DMZ国际电影节上都获得了好评,这次2012中国视像艺术节带来了该片的英国首映。


Although many people may be familiar enough with dragon boats, most non-Chinese are probably unaware of the deep roots which the festival itself has in Chinese culture, being linked to the tale of the poet Qu Yuan, who drowned himself in 278 BC after the collapse of the country. The film explores this through the case of Lianxi, a village on an island in southern China whose inhabitants were forced to resettle in 2003 due to the construction of a new University Town in the area. Although their village was eventually transformed into a kind of folk culture tourist resort, the old inhabitants still return every year in an attempt to continue the tradition of dragon boat racing. In “Dragon Boat”, Cao Dan has found a highly effective means of examining the fate of ancient traditions in the face of the unstoppable tide of modernisation in China, as well as a very personal story which meditates upon the human cost of development. The tale of Lianxi is certainly a fascinating one, and the film, which began shooting in 2001 does a great, well-paced job of charting the whole process of eviction and redevelopment and following the villagers as they struggle to come to terms with the enforced changes to their way of life. It’s here that Cao Dan really impresses, as though the film is quite grim in its own way and includes scenes of destruction, she manages to present a balanced and calm perspective. As a documentary, “Dragon Boat” remains accessible and open rather than overtly political, and as a result is engaging even for viewers previously unaware of the issues it tackles. Crucially, this also ensures that it never loses sight of the inherently human element of the story, with the villagers and their experiences featuring prominently throughout.

虽然可能很多人都知道龙舟,但大部分非中国籍的人都可能不太了解龙舟节在中国文化中深刻的根基。龙舟节起源于屈原的故事,他在公元前278年国家破亡后投江自尽。影片通过中国南方一个小村庄练溪村的故事来探讨这个主题,村里的居民2003年因为该地区大学城的修建而被迁走。虽然他们的村庄最终被改造成了一个民俗文化旅游景点,原来的村民们仍然年年回来并试图继续划龙舟的传统。在《龙船》一片中,曹丹找到了一种非常有效的方式来审视中国不可阻挡的现代化大潮中古老传统的命运,同时也讲述了一个非常个人的反思经济发展造成的人文损失的故事。练溪村的故事无疑是吸引人的。影片自2001年开始拍摄,以很好的节奏讲述了整个搬迁再造的过程,并记录了村民们在被迫改变生活方式后的挣扎。而曹丹最特别之处在于在讲述这样一个灰暗且很多破坏场景的故事时,保持了一个平衡和冷静的语调。作为一部纪录片,《龙船》仍然很让人接受且开放,而没有过于政治化,其结果是令可能之前不了解这个问题的观众开始关注这个话题。而且很重要的是,影片从来不曾失去对人的关怀,村民们的故事一直都是片子的主要线索。


The film is all the more convincing and engaging for the fact that it never resorts to obvious and simplistic ranting about the evils of government. Focusing instead mainly on the ways in which traditions are preserved and handed down, it attains a powerful and profound feeling of irony, in particular through the creation of the folk culture tourist resort, designed to give an authentic experience of something which to the villagers themselves is far more than mere nostalgia. What comes from this is a sense of confusion rather than anger, and the film is reflective and quietly passionate without offering any real answers or artificially manipulating its content towards any forced conclusions. There’s certainly nothing too preachy here, and while the lack of any narration (a common feature of independent Chinese documentary films) may leave viewers more used to more regimented Western style documentaries a little lost at times, this fits well with Cao Dan’s contemplative approach, and the film’s structure and storytelling are strong.

影片并没有简单的控诉政府的腐败,使得它反而更加有说服力和吸引力。片子着重讲述了传统文化的保护与传承,并达到了强有力且深刻的讽刺感,特别是民俗文化村的建立。其意旨在展示真实的民俗文化,而实际曾经在这里生活的村民却在深深地怀念他们曾经的传统。影片透露的更多是一种迷惑而不是愤怒,影片更多是反思和沉静的激情,并不试图去提供任何解答或刻意编排其内容来得到牵强的结论。片子明显不是说教意味的,虽然旁白的缺失(这是中国独立纪录片共同的特色)可能令习惯了西方纪录片模式的观众有些看不懂,但这和曹丹影片整体平静的叙事方式是协调的,而且影片的结构与叙事都很有力。


“Dragon Boat” also benefits from some superb visuals, and unlike some documentaries is a very cinematic affair. Unsurprisingly showing a real artistry in its shots and editing, the film’s images complement is themes and help to tell its story very well, from the early scenes of the Lianxi dragon boat being buried in a pond after a race to help preserve it, through to the later stages when the village has been replaced by the resort. The film has an excellent eye for contrast, and without hammering things home unnecessarily, its visuals do a fantastic job of portraying the uncertain existence of an ancient tradition in modern times.

《龙船》精彩的视觉效果也为影片增色不少,和有些纪录片不一样,这部影片非常有影院感。并不令人意外的艺术感强烈的镜头和剪辑,影片的画面非常好的彰显了其主题并推动了故事的发展,从开始练溪村用把龙舟埋入池塘来保护龙舟的场景开始,到后来村子被重建为旅游点。导演对对比的眼光非常独到,没有过多的雕饰,片子的视觉极佳地刻画出一种古老的传统在当代风雨飘摇的命运。


“Dragon Boat” is an excellent example of how documentary film making can deal with a controversial subject without hysteria, and can do so with humanity and poetic grace. Highly engaging and artistic, it’s an interesting and exceptionally well-made piece of cinema, which should be enjoyable even for those not normally attracted by the documentary form or with any knowledge of dragon boats or modernisation in China.

《龙船》是在处理争议题材时不带强烈观点,而采用人文和诗意般雅致语言来讲故事的纪录片典范。本片极具观赏性和艺术性,是一部意义深刻而拍摄精良的影院作品。那些甚至对纪录片,龙舟或中国现代化不了解的观众也应该会喜欢。


Source引自:http://www.beyondhollywood.com/dragon-boat-2010-movie-review/

Translation: Jingjing Xie 译:谢晶晶)

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