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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.
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.
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.
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.