第73期 | 纪录片：一次重命名的尝试
Issue 73| Documentary : An Attempt at Renaming
提引人：张瀚文
Moderator: HanWen Zhang
线上放映 Online Screening
田园将芜 Around That Winter
导演：王晓振 | Dir. XiaoZhen Wang
女导演 Female Directors
导演：杨明明 | Dir. MingMing Yang
嘉宾对话 Online Panel
王晓振
专题概述
我们生活在现实，但从未满足于现实。电影从诞生之初就开始向人们呈现充满虚构与幻想的世界，而影像中的叙事和表演也无时不参与着个体梦境与欲望的构建。由此，现实和影像渐趋同化，虚构与非虚构也越来越无法区分。人和人之间的关系因影像的介入发生改变，我们对“性”的理解和诠释很可能为影像主导。于此同时，在图像和现实的相互作用的语境下，我们似乎不可避免地放大了“视觉”，也边缘化了在生活和性体验中同样重要的其他身体感官。我们能否期待新技术的出现填补现实感官空缺？又将怎样迎接现实在虚构和虚拟共同作用下的新一轮发展？
We live in reality, yet we are not content with it. Since its advent, film has been offering its audience a filmic reality with fictionality and fantasy. Cinematic images, in turn, take part in the construction of individual dream, desire and sexuality. Cinema, then, blurs reality and fantasy, fiction and non-fiction. Subsequently, by reflecting and distorting our desires, it reorients our understanding of interpersonal and sexual relationships. Here, the emphasis on imagery raises questions about non-visual factors that also affect our perception of reality and sexual experience. With novel representational techniques entering the media realm trying to grasp the underrepresented, the manner in which fiction and non-fiction will evolve and continue to impact our notion of reality remains unknown.
Ahead of its time, the 2002 film Let’s Love Hong Kong offers an insight into the dynamic between imagery and reality, as well as the dilemma of modernized human interaction. Writer, director Yau Ching will join us as guest speaker to talk about her critical engagement with the issue from a perspective of gender and sexuality within the East Asian context.
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放映影片
《田园将芜》，王晓振
Around That Winter, Wang Xiao Zhen
大约在冬季，周青随王晓振来到翟家庄村见父母，他们遇到了满嘴脏话的男孩永顺，遇到了一脸困惑 的女童子歌，遇到了健忘的老人奶奶，遇到了无所事事的青年小胡，他们似乎不知道要做什么。但他们都自得其乐。而周青和王晓振一直在等待迟迟不来的父母，除 此之外他们觉着做什么都没意思。
Qing Zhou and Xiaozhen Wang came to Huojiacun to visit Wang’s parents at the end of winter. They met the foul-mouthed boy Yongshun, the confused girl Zige, the forgetful old lady Grandma, and also Xiaohu, who knew nothing but hanging out. All of them enjoyed their lives purely without any targets. Meanwhile, Wang and Zhou felt nothing interested while waiting for the parents, who never showed their faces.
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《女导演》，杨明明
Female Directors, Yang MingMing
阿明和月月从导演系毕业后，一直没有戏拍，于是她们决定拍摄一部记录自己生活的电影。在剧场里，月月喜欢上了演话剧的男主角。前期拍摄在她们不断的磨合沟通下缓慢进行。直到有一天，一件意外的事情发生了......
Ah-Ming and Yueyue are two out-of-work film school grads living in Beijing who decide to turn the camera on each other and make a film about their lives. While it purports to be the true story of two women filming themselves, Female Directors constantly reminds us of the process that has gone into making it. It is a genre-bending, self-aware piece of experimental filmmaking.
嘉宾邀请：
王晓振
1989年生于山东临朐，拍过长片《田园将芜》和《情诗》，可能还会继续拍下去。
Born in 1989 in ZhaiJiaZhuang Village, Linqu, Shandong Province. Currently lives and works in Beijing. He runs a small advertising company with his friend Li Yang. He has made several low-cost movies. Although the production is rough but sincere, the calligraphy is not good and cannot sell money. Time may also be spent making movies and writing, like playing basketball.
提引人简介
张瀚文
张瀚文是一名影像艺术家和研究者，现生活工作于纽约。他本科毕业于清华大学，2019 年于纽约视觉艺术学院获得摄影方向艺术硕士学位。他的电影《中国第一线》现已可以在 BBC 首届线上电影节 LongShots 上观看。
「如有真实，纯属虚构」
Any resemblance to actual events is entirely fictitious.
本项目旨在探讨“虚构”与“非虚构”作为一种创作策略在当代艺术、电影、戏剧，以及更广泛的文化范畴内如何被创作者使用、被观众接受，继而影响我们对于既有文本亦或是世界的理解。通过对于特定作品的分析与研讨，2020夏季单元刺探并尝试锚定“虚构”与“非虚构”这两个概念之间的张力与边界。
本项目基于如下的五个子项目构架并展开:
第69期 | 不稳定的档案：历史、国族和未来的想象
第70期 | 重演：事件还原中的余波荡漾
第71期 | 图像，真实，割裂的性
第72期 | 共同叙事的迷思:神话及虚构叙事学
第73期 | 纪录片：一种非虚构类型的虚构原罪？
单元策划人 | 张瀚文、王凯帆 选片邀片 | 潘锦心 题引人 | 王凯帆、曹晓婕、袁小亚、杨旖旎、张瀚文 合作剧团 | New York Mandarin Playback