2011年5月28日星期六

[movie]漫漫归家路:作家兼导演郭小橹专访

 
 

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via 译言-每日精品译文推荐 by marymengyan on 5/27/11

原作者:
来源A long way from home: an interview with author/director Xiaolu Guo
译者marymengyan

Following the recent DVD release of her first feature length film She, a Chinese in the UK, John Berra sat down with filmmaker Xiaolu Guo to discuss the development of the film, the issue of national identity and the state of Chinese independent cinema.
作家兼导演郭小橹在英国发行了她的第一部电影《中国姑娘》之后,
约翰.贝拉博士与她讨论了关于此片的产生,民族身份的定义以及中国独立电影现状的问题。
She, a Chinese (2009) is the latest feature film by Xiaolu Guo, the novelist and filmmaker who is perhaps best known in the UK for her 2007 novel A Concise Chinese-English Dictionary for Lovers, which was shortlisted for the Orange Broadband Prize for Fiction.
郭小橹是一个小说家和电影人,她在英国最为知名的是
2007年出版的英文小说《中英情人简明字典》,此书受到了专为女性设立的英国"Orange宽带小说奖"的提名。  
An impressionistic account of the personal journey of a girl from rural China who moves to a bigger city and then relocates to London as an illegal immigrant following the murder of her tough-yet-tender mobster lover, She, a Chinese was awarded the Golden Leopard at the Locarno Film Festival in 2009 and the UK release of the film has coincided with the publication of Xiaolu's latest novel, UFO in Her Eyes (2009), which speculates on the effect of economic acceleration on rural China by 2012. Xiaolu is also a documentarian, and her non-fiction work - including The Concrete Revolution (2004) and Once Upon a Time Proletarian (2009) - also deals with China's rapid development.
影片《中国姑娘》讲述的是一个来自农村的中国女孩先是移民到大城市,然后又偷渡到伦敦的个人旅程。此片在2009年的洛迦诺国际电影节上获得了金豹奖,并且与郭小橹的最新小说,讲述经济发展对中国农村影响的《情人眼的飞碟》在英国同时出版。郭小橹也是一个纪录片导演,她的作品《嵌入肉体的城市》(2004)和《曾经的无产者》(2009)记录的也是中国经济的快速发展。

She, a Chinese was financed by the UK Film Council in cooperation with a number of other backers. What was the development process of the project?
约翰:《中国姑娘》是由英国电影协会以及其他人士合资赞助的,这个项目是怎么发展起来的?  
She, a Chinese was supposed to be my first fiction feature; I came to the National Film School in the UK, and when I graduated I won a prize. I was supposed to make my first fiction feature with an English producer, but for six years I was waiting for financing because it was a Chinese story set in London and they had not made a film with a Chinese filmmaker before. There was a lot of testing, waiting, pondering, questioning, and in six years I made four films and wrote four novels just to keep my energy going. I'm working with a European producer for my next film, which is based on my novel UFO in her Eyes; it's kind of a Kafka, science-fiction film with surreal elements. Essentially it's a political film about the loss of peasant identity. It's going to be a much bigger budget, and in order to make that kind of film, I had to make She, a Chinese to prove that I can do a strong narrative film, not only intellectual cinema.

郭小橹:《中国姑娘》原本应是我的第一部故事片,当时我来到了英国国家电影学院学习,并且在毕业后得到了学院的奖赏。我本来是要和英国制片人合作一部电影,不过我等了六年才得到了足够的资金,因为这是一个中国人在伦敦的的故事,可是他们从来没有和中国人一起拍过电影。经过了很多的实验,等待,思考和质疑,这六年里我完成了四部纪录片和四本小说,就是为了有些事可做。现在我在和一位法国制片人合作下一部影片,是根据我的小说《情人眼的飞碟》改编的,一部居于卡夫卡和科幻之间,带有超现实元素的电影。这部影片的预算成本更高,而我的《中国姑娘》证明了我是可以拍这种叙事性影片的。 

Your work to break down the barriers between East and West; She, a Chinese and A Concise Chinese-English Dictionary for Lovers concern characters who relocate internationally, and the cultural differences they experience, but the protagonist of your novel 20 Fragments of a Ravenous Youth is just as dislocated when she moves from rural China to the urban environment of Beijing.
约翰:你的作品打破了东西方之间的障碍:《中国姑娘》和《中英情人简明字典》关注的是来到西方国家的人所经历的文化差异,而你的小说《一个饥饿青年的20片段》讲述的也是一个从农村来到北京的女孩的文化错位。  
Exactly, it's easy and lazy to claim your existence through national identity. She, a Chinese is about a young person trying to get rid of national identity, because I think identity is so dangerous in this world. I am a radical existentialist, and the character in 20 Fragments of a Ravenous Youth is a typical existential character; it's a character living without a future, trying to survive through to tomorrow.

郭小橹:没错,通过民族身份来宣称自己的存在是一种很容易也很偷懒的方式,《中国姑娘》是有关一个年轻人试图摆脱自己的民族身份,因为我认为在这个世界上,身份是一个危险的东西,我是个彻彻底底的存在主义者,而《一个饥饿青年的20片段》里的人物就是存在主义的典型,她是一个不考虑将来的人,只生活在现在。

Your documentaries The Concrete Revolution and Once Upon a Time Proletarian deal with the impact of economic acceleration on peasant life. What was your experience of growing up in a rural community?
约翰:《嵌入肉体的城市》和《曾经的无产者》记录的是中国经济的加速发展对农民生活的影响。你在农村的个人成长经历是怎样的?
  
I come from a South-Eastern province that is very close to Taiwan. It is kind of barbarian, a very bare place, where socialism was not an influence. It's very feudal and very classical in a Chinese sense. You don't see any industry, so the whole place is basically China twenty years ago, and I guess I am the only intellectual from that place. When you come from that kind of place, your vision of the world is very different from that of someone who comes from the city; I understand the power of the land, but also the violence of the land, and I understand the pain between the peasants and the land, because it used to belong to them and now it belongs to some big company, so they don't have anything left and they have no identity. I wrote a novel called Village of Stone which is a portrait of an environment where violence is the only way of expressing love and that is very typical in the rural Chinese villages where it's all about incest and violence. So I grew up in a village which enabled me to see the Chinese past, which is the agricultural past and it was a big, radical change when I went to Beijing Film School.

郭小橹:我来自中国东南部的一个地方,与台湾很近。这是一个荒蛮之地,社会主义对它的影响并不是很大,用中国的话来说,它是一个封建意识非常强烈的地方。你看不到任何的工业,所以整个地方基本上是二十年前中国的样子,我想我是那里出来的唯一一位知识分子。当你是从那种地方出来的,你对世界的看法就和来自城市的人有着截然的不同。我明白土地的力量,也理解土地的强暴。我知道农民对土地的痛苦,因为这些土地曾经属于他们,而现在属于一些企业,农民们什么也没有留下,他们也失去了自己的民族身份。我出版了一部叫《石头镇》的小说,里面描写了一个地方,在那里暴力是表达爱的唯一途径,因为在中国农村,乱伦和暴力都非常的普遍。在农村的成长经历使我可以看到中国的农业过去,当我来到北京电影学院的时候,我经历了彻头彻尾的改变。

The film industry in China largely revolves around epic blockbusters following the success of Hero (2002) and House of Flying Daggers (2004). However, directors such as Lou Ye and Zhang Jia Ke Ye have managed to make more personal or politicized films such as Suzhou River (2000) and Still Life (2006).
约翰:随着《英雄》(2002)和《十面埋伏》(2004)的成功,中国的电影业出品的基本上都是史诗巨片。而另一些导演们像是娄烨和贾樟柯,也尝试着创作一些带有个人风格和政治内容的作品,像是《苏州河》(2000)和《三峡好人》(2006),你对中国电影是怎么看的?  
Ten years ago, Zhang Yimou and Chen Kaige were strong filmmakers, and the problem is that they've become nationalised, are fifty-five or sixty years old and have lived entirely in China and never spoken any foreign language. You cannot really blame them because they are against the international identity so therefore they cannot do what Kurosawa did in Japan, they just become nationalised. What I am hoping for is diversity and alternative cinema; there is Wong Kar-wai, Zhang Jia Ke, Lou Ye and myself, but our histories and our visions are quite different. Wong Kar-wai was working in a commercial environment in Hong Kong; he managed to combine the art-house author attitude with very commercial elements, so his cinema is more accessible to the West, but Zhang Jia Ke and I are very serious about the political problems in China. It's healthy if we have very different types of authors, because then there are strong voices, and strong voices can become dialogue and debate.

郭小橹:十年前,张艺谋和陈凯歌是强劲的电影制作人,问题是他们已经国有化了。他们现在五六十岁,生活在中国,从没有说过另一种语言。你不能责怪他们,因为他们是与国际认同感唱反调的,他们已经被国有化了,因此不能做到像日本的黑泽明那样。我寄予希望的是其他的多样化和替代性的导演像是王家卫,贾樟柯,娄烨和我自己,不过我们之间的背景和视角有着很大的不同:王家卫工作在香港的商业环境下,他把艺术电影和商业元素非常成功的结合了起来,所以他的电影在西方更容易被接受。可是贾樟柯和我对中国的政治问题更加的重视。中国有着非常不同的创作人,这是有益的,因为我们会发出强烈的呼声,而强烈的呼声最终会带来讨论和对话。

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