大会展播影片之《秉爱》

　　片名：秉爱

　　影片原产国：中国

　　语言：湖北方言

　　字幕：中英文

　　片长：114分钟

　　影片制作年份：2007年

　　作者：冯艳

　　导演：冯艳

　　制片商：

　　内容简介：经过15年的建设，到009年，三峡大坝即将完工。这个号称世界最大的水利工程背后有无数个数字，其中包括多少个县市区被淹没，多少人要迁移。秉爱是否是官方公布的那113万移民当中的一个？她是这样被要求的，但她始终也没有离开。以她的名字为题的这部纪录片让我们看到当年她进行过怎样的抗争，一个普通的农村妇女，孤独的，完全无助的；而其中全部的理由，都只是她不愿离开土地。她不肯离开不过是基于非常现实的原因，但当她在田间地头，无意间陈述起对于土地的感情，说“土能生万物”的时候，我们还是忍不住被其中的朴素和豁达深深打动。但这部作品并不完全是关于抗争的，作者甚至无意于此，无论前期拍摄还是后期剪辑的时候；她只是凭借一种本能待在现场，在需要的时候坚定地与被逼迫的人站在一起——《秉爱》实质上延续或继承了日本20世纪六七十年代纪录片的传统，然后在当代中国的现实和土地上生长出来。冯艳待在那里，更多是被她的人物所吸引，在劳作以及同干部争吵的间隙，她在影片中再现了人物逐渐把自己向摄像机打开的过程，秉爱对自己人生经验的讲述——那实际是一种面对面的交谈，给予了这个作品人性的色彩和厚度。那里有一种个人命运在反对国家意志，或某种权力意志的胁迫和改变的时候，所表现出来的强悍的道德力量。从另一个角度，它又有一种美，因为它呈现了一个想要有尊严地活着的人。

　　导演简历：冯艳，天津人。80年代毕业于天津外国语学院日本文学专业。1988年赴日学习环境经济学，之后一直在那里生活到2002年。1993年，她作为一名普通 观众在山形电影节与纪录片相遇，并由此认识到小川绅介的著作和电影。之后，她将《收割电影：小川绅介的世界》一书翻译成中文由台湾远流出版社出版，同一时 期也开始了她的纪录片实践。1994年，冯艳第一次进入到三峡库区考察和拍摄，1997年，她完成了以此为题的第一部长片《长江之梦》，这部作品入选亚洲 新浪潮单元，令她以作者身份来到山形；2002年，冯艳再次回到长江边上她拍摄过的村庄，那些人物和生活的变化深深触动了她，这一次她将拍摄的焦点聚集在 四个女人身上。五年之后，冯艳将其中一个女人的故事剪辑成一部单片——《秉爱》，她因此再次回到山形，并拿回了亚洲新浪潮单元的小川绅介奖。这部影片还在 2008年西班牙的Punto De Vista国际纪录片电影节获得大奖。也是在2007年，冯艳又对她的人物进行了回访，她在为她下一步的计划做准备——《长江边的女人们》将以十年的跨度 编织四个女人的故事，在三峡移民的大背景中，展示那些普通人生的变故，以及包含其中的理想和现实困境。

　　Name of Film：Bing’ai

　　Country of Production： China

　　Commentary Language： Hubei Dialect

　　Subtitle：Chinese/English

　　Running Time：114 minutes

　　Year of Production：China

　　Author：Feng Yan

　　Director(s)：Feng Yan

　　Producer(s)：

　　Brief Synopsis： After 15 years of construction, the Three Gorges Dam project will be completed in 2009. Behind the reality of this hydroelectric project, supposedly the largest in the world, are a number of astounding figures, including how many cities and counties are to be submerged, as well as how many people will have to be relocated.

　　Does Bing’ai belong to one of the 1.13 million migrants cited in official statistics? She was told to leave by the village cadres but she never did. The documentary named after her gives us a chance to see how she, a lonely and helpless woman from the countryside, has fought against them. Her only reason for refusing to leave is her reluctance to abandon her land. Her refusal to leave is for very practical reasons, yet the audience is moved by her humility and simplicity when at one point in the film Bing’ai speaks about her feelings towards the land while taking a break from her work, where she says “the earth can grow everything”.

　　This is not a work focusing only on resistance, nor was that the intention of

　　the filmmaker. Following her instincts, she stayed on the sites and stood by the powerless while they struggled. The tradition of “Standing with the people who are struggling” from Japanese documentaries filmed in the 1960s and 1970s has received continuity in this film, while the roots of this work are still deep in the reality and the earth of China. Feng Yan is drawn to her subject, and when Bing’ai rests, or in between her quarrelling with the local cadres, Feng Yan presents the process through which Bing’ai gradually and slowly opened herself to the camera. The account of Bing’ai’s life experiences is in fact a kind of one-to-one, giving the work depth and a human touch. There is present a determination and moral force willing to stand up to power, and at the same time, a kind of beauty, since this is a portrait of a person struggling to preserve dignity in her life.

　　Filmography：Feng Yan is a native of Tianjin. She graduated in the 1980s from the Tianjin Foreign Language College, majored in Japanese literature. In 1988, she went to Japan to study environmental economics and lived there until 2002. In 1993, she went to the Yamagata documentary film festival as a member of the audience and encountered the writings and films of Ogawa Shishuke. Later she translated Harvesting Film by Ogawa Shishuke into Chinese, published at the Taiwan Yuanliu Publishing House. She started making her own documentaries during the same period. In 1994, Feng Yan entered the Three Gorges area for the first time to do research and shoot her first film. In 1997, she completed The Dream of the Yangtze River, which was shown in Asian New Currents, at the YIDFF that same year. In 2002, Feng Yan returned to the village where she worked and was deeply moved by the changes of the people’s lives there. This time she focused on four women in the region. Five years later, one of the women’s story was edited into a feature film, Bing’ai, which took Feng Yan back to Yamagata where she won the Ogawa Shishuke prize. This film got the grand prix in Punto De Vista, 2008, in Spain. It was also in 2007 that Feng Yan revisited her characters to prepare for her next project: Women of the Yangtze River, where she attempts to weave together the stories of four women within the context of the relocation of people after the completion of the Three Gorges Dam. The result of ten years work, the film shows the changes in the lives of the common people, as well as their dreams and troubles.