与中国电影人贾樟柯的对话_媒体学dissertation
“在我考入电影学院的第二个年头也就是1995年，我和其他10同学已经想拍摄一部电影，但是因为资金和拍摄机会不成熟而搁浅。所以我们建立了青年电影实验小组并独立制作了三部短片。我们开始在一起练习、思考、讨论电影。在这个小组里有编剧、制片人、摄影师、健全的轨道技术员和导演。我们以合作来组成一个完整的团队。我们的目标是可以达到一个有机会拍电影并努力填补纪录片和sperimental流派之间的空白的途径。我们拍的第一部短片叫《有一天，在北京》，然后有《小山回家》和后来的《嘟嘟》，之后是《小武》。这个小组的主要成员至今仍然跟我一起工作并且是我最重要的合作者，比如说导演助理。
"In 1995 when I was attending the second year of the Cinema Academy, I and other ten schoolmates already wanted to shoot a movie, but funds and opportunity failed. So we did found the Youth Experimental Film Group and self-produced 3 shorts. We did start to work together to practise, to think about movies and discuss about it. In this group there were the script-writer, the producer, the cameraman, the sound-track technician, the director: we did organize to form a complete band. The goal was to archive one way, an opportunity to produce the film and to try to fill the gap in the documentary and sperimental genre. We did shoot a first documentary called "One day in Peking", then "Xiao Shuai hui jia" and as last "Dudu"; after that, "Xiao Wu". The main members of this group keep working with me nowadays and are my most important collaborators, like for example the assistant director.
我的活动在国内是不能被保证的。我需要一个开放的国际空间，因为我已经找到了一些投资者。我已经选择在香港，因为它仍然保持自由的空间和再加上它的一个中国的地方，这帮助我的沟通。因此我们做出了决定：在香港建立我们的落脚点。这对我来说，好像一个最佳的妥协，因为在北京依赖国际的合作是十分困难的。
My activity cannot be guaranteed inside of China. I need an open space and international one, because I've got to find some investors. I've choosen Hong Kong, since it still keeps free spaces and plus it's a chinese place and this help my communication. So we have come to decision: to establish our seat in Hong Kong. This to me sounds like an optimum compromise, since it's difficult to count on international collaborations in Peking.
Indipendent cinema has lived until now 2 very important moments. The first at the beginning of the 90's. In that time many new young directors appeared, who sought to express with new and freer forms, suffocated and frustrated as they were by a too binding system. The second, is the one born 2 years ago. Its importance is due to the fact of having contributed to the developement of the documentary genre and digitals films. In any case I speak of my own experience which is not representative of the scene, since I've been lucky having not found economical difficulties. Xiao Wu has been completed in 1998 and the following year it has been screened at the Cinema Festival of Berlin. In January 1999 the chinese goverment forbade me to shoot at other film. To me it represented a huge obstacle, since it meant an illegal act, if I was going to screen my movie. I felt deeply anguished, because Xiao Wu is a chinese story and I would have enjoyed my public to be chinese. This prohibition made lose my public. While preparing Zhantai, we serched for a dialogue with the goverment, hoping to find a solution. Unfortunately, neither this film was appreciated by the goverment and I found myself in a bad mood while producing the movie. Anyway, I'd underline something: this kind of prohibition was not so hard, since they didn't forbid me to shoot the movie, but only to project it in China. So I consider these obstacles less harmful for me, since I'm always free to shoot a film, but certainly they are to the chinese culture; infact chinese public can't see real life in movie. There's a huge depression in cinema field, and all this due bureaucratic control system which prevents creation and investments. Censorship can change to its own pleasure a work and to forbid the public projection, therefore we have no guarantee both artistically and financially. The present-day condition of chinese movies industry is embarassing.
Every year there are at least 10 directors who undertake a career in th e indipendent and digital cinema. And this new flow turned out to be a particular influence: it has interrupted that traditional control on the production, since these film are very cheap, and it has also succeded with the problem of censorship.
There are always more artists who choose such a way. The new directors are like me, they self-finance and generally they don't find real investment. For example, as far as my experience is concerned, I use my own money to shoot a film. This doesn't represent a normal investment, it's only a self-satisfaction of my own creativity. As an example, if you feel like wanting a film to be produced, but you don't have the funds to accomplish this dream of yours. This is not a business, it's not considered a normal investment. In China you can find directors, but not "west-producers", according to the western meaning, since chinese goverment doesn't allow it in that sense.
Both in “Zhantai” and “Xiao Wu” there are many songs. All of the “Zhantai” songs own to 80’s and they describe us the change from this point of view. At the beginning there’s a passage called “ The train leaves toward Shao Shan”, the bird place of Mao Ze Dong. It was written to praise and extol Mao. It was in ‘79, right after the end of the Cultural Revolution, when china was closed and still followed Mao’s indications. In that time everybody knew this song. To me this is the start-point of the movie. As long as the film goes on, the protagonist listen to Teng Li Jun music, and this was a reality of these years, since it was not yet permitted a private life in China. With the coming of the Teng’s songs, as last a true and genuine mass-culture came into China, and this was a signal for the government, indicating the need of a own-popular-cultur for China. Another song comes next, titled “Meeting of the young friends”. In the 80’s after people lost hope in the future and in government due to the Cultural Revolution, the Party let an advertising song be composed, to tell the people that, in a 20 years, approximately in 2000, China would have accomplished its 4 “Modernizations” : in the industrial and in agricultural field, national defense, and in science and technology field, to become at last a modern country. Every song in the film shows and voices a social class and contains the cultural meanings of that period.
“Zhantai” tells the story of a whole decade, precisely the 80’s, from 1979 to 1992, starting with the cultural Revolution and ending with Tian an Men slaughter, both representing 2 dramatic changes. China has just begun its first contacts with the West. There came to be rather vivid cultural changes, for example the year before you could talk about television as an abstract image and the following year everybody owned it; the people who previously worked in a state company in a 5 year period started to undertake their own business. In the course of the 10 years, ideology underwent a clear change. Prior to ‘79 people couldn’t watch a western movie; 5 years later you could find in a lost chinese village’s stall, books on european philosophy such as Nietzche. You could easily find Pasolini’s tapes and VCD, and this period wich corresponds to my adolescence was a moment of strong growth and maturity to me. Chinese state has undertaken a considerable change; I had a strong wish then to show this age in a film.
I believe chinese cinema will have a total change. This day is always closer, and not because I’m deceiving myself about this system, but because I think it’s a period of big transformations, communications, we have internet, and you can’t control anymore systematically the thoughts and people’s ideas, therefore I’m optimist and think chinese cinema will certainly have its creative freedom. http://ukthesis.org/media/ Guys have more courage, strong creativity and can change this country."
——by Matteo Damiani
