中外专家共同探讨纪录片创作之路：纪录片精英妙语连珠

梦的轻波

四川电视节《快讯》第四期
http://www.swtv.com.cn/tvf/4/5.htm

      27日下午，“金熊猫”奖国际纪录片的颁奖结果揭晓后，中外专家就聚集一堂，召开“金熊猫”奖国际纪录片创作研讨会，共同探讨纪录片的创作之路。研讨会由“金熊猫”奖国际纪录片评选委员会评委卢子贵致辞，本届“金熊猫”奖国际纪录片评委会评委、中国视协电视纪录片艺术委员会会长陈汉元讲话并主持了研讨会。
　　研讨会以看片为主，辅以该片导演的发言，强调互动性。到会的来宾有400多人，研讨气氛浓厚。
　　In the wake of the awarding ceremony for international documentary, the experts at home and abroad gathered to look into the creation of documentary. International symposium on the creation of documentary was held yesterday afternoon in Chengdu Hall, California Garden Hotel, CIECC. The opening ceremony was hosted by Yang Biao, the secretary general of Sichuan Provincial Radio and TV Association. Lu Zigui, the judge of the Judging Committee of the international 'Golden Panda' award for documentary, made a speech. Chen Hanyuan hosted the symposium.
　　The symposium featured the watching documentaries and interactivity . There were 400 or so persons present.

(郭华/文)



《英与白》导演张以庆：  

　　 在纪录片的讨论中,“真实”、“客观”等是最容易引致混乱、但又无可代替的概念。为避免混乱，在讨论之前必须加以界定。“真实”、“客观”在本文中除特别指出外，均指拍摄对象的行为在被拍摄时没有因拍摄者的存在而受到任何影响， 观众在纪录片中所看到的就是拍摄对象在拍摄者不存在时的生活，拍摄者对素材剪辑时其理智和情感处于“休眠”状态。


　　ZHANG Yiqing, Scenarist-director of "Ying and Bai"
　　In our discussion of documentaries, "reality" and "objectivity" are the two irreplaceable concepts that are likely to confuse many critics. To avoid such confusion, we will have to define these two terms before our substantive discussion. Except otherwise indicated in the following text, both "reality" and "objectivity" refer to a condition or state at which the actor or event is not disturbed or distorted because of the presence of production staffs, and that the TV viewers watch the actor or event with complete absence of the production staffs who are presumably in a "dormant state" of their intelligence and emotion though they are actually fulfilling their duty including editing and clipping.




《我的小学》编导祝凤鸣：  

　　众所周知，最近20多年来，中国社会形态正在发生剧烈的变化。改革开放，这种社会的大变革已经深刻地影响到中国最基层人民的生活和命运，他们的价值观念、情感取向、行为方式正在悄悄发生变化，并面临着一系列的冲突和困惑。从平凡的日常生活，从“小人物”的情感和命运中，往往能发掘出关乎时代转变的重大主题。作为电视记录的一次偶然巧合，《我的小学》主人公汪永平，这种看似奇特的人生选择背后，埋藏着一个重大的时代命题，那就是，在知识经济时代，人们已经自觉地意识到，没有文化就难以生存、发展，只有知识才能改变命运。

　　ZHU Fengming, Scenarist-director of "My Primary School"
　　Great changes have taken place in China within the past two decades. The Opening and Reform brings great changes into people's life. Their view of value, their feelings and their behaviors are changing slightly with confrontation and bewilderment. Great themes can be found in people's common life. And they might reflect the changes of the times. It could be a coincidence that we found Mr. Wang Yongping, who is the hero of My Primary School. The great theme hidden in Mr. Wang's legend and his life choice is that people are well aware that they can not live, not to mention to win, in this intelligent economic society. That is to say only knowledge can change people's fate.



《青春爵士乐》导演吉川秀和：  

　　在这次所制作的《青春爵士乐》中，最需要提到的是人的潜能是无限的这个话题。不管是儿童、成人还是年老者，也无论男女，在每个人的身上都隐藏着充满个性的潜能。但是有些人未曾注意到，就这样被埋没了；有些人抓住了一个很小的契机，并以此为基础，不断地发掘自己的潜能。
　　表演《青春爵士乐》的日本钢琴演奏家和爵士乐队的学生们正是抓住了邂逅的机会，使自己的潜能完美地发展下去。

　　Hidekazu Yoshikawa, Scenarist-director of "Jazz for You"
　　The program "Jazz For You" is centered on the unlimited potential of human beings. This potential, full of unique personality, is hidden in everyone, including children, adults, seniors, males and females. Unfortunately it hasn't been noticed by many people and therefore buried and unused. However, some lucky ones have taken this opportunity, and kept on digging and developing their potential.
　　The Japanese pianists and students of the jazz bands who played "Jazz For You" had just grasped this opportunity and perfectly developed their potential.





《猴王》编导宁业斌：  

　　《猴王》是一部短纪录片，着意跟踪野生猕猴族群，窥探猴王及其族群的生活习性，试图获得对猕猴世界更多的认知。因而在表现手法上，首先追求纯真实的记录，表现野生猕猴的种种真实存在；其次在编辑上力求精炼为一个短篇故事。我们前后5次共拍摄了17个小时的素材，最终的构思是集中在猴王身上，并在30分钟以内展示猴王及其族群的生存故事。如今的成片不足30分钟，就较为顺畅而真实、精炼而集中。再次是尽最大可能还原环境及野生猕猴的原始音效，尽量不配音乐，减少人为情绪的附着痕迹，使野生猕猴的生存状态达到最大的真实可信。

　　Scenarist-director of "Monkey King"
　　Monkey King is a short documentary, which is supposed to help people know more about this species by tracing and spying upon their activities and living habits. Accordingly, realism took priority in our style of presentation so that we can reflect the real life of these wild macaques; secondly, while editing this film, we tried to connect these facts in the form of an integrated an coherent short story. The length of all the original shots amounted to 17 hours, while finally we focused only on the monkey king. We decided that there would be a thirty minutes'story concerning the experiences and activities of this monkey king and its clan while they were striving for survival. The finalized version is no more than thirty minutes while it succeeds in highlighting the subject matter with realism, vividness and conciseness. Last but not the least, to avoid possible distortions and ensure realism and credibility, we minimized the amount of music in this film in the hope to reveal the original sounds in the wilderness and the noise of the wild macaques.




《度过生命的危机》
策划、编导孙剑英：  

　　 10年来，我们以“人们如何抢救濒临灭绝的珍稀物种大熊猫”为主题，从不同的角度切入，策划、制作了三部有关大熊猫保护的纪录片《来自大熊猫故乡的报道》、《传宗接代》、《度过生命的危机》。
　　 《度过生命的危机》抓住了大熊猫繁育中的关键难题：“人们怎样帮助大熊猫妈妈将‘双胞胎’幼仔哺育成功？”以被大熊猫妈妈在生产后遗弃的“双胞胎”幼仔作为主角，反映“它”在人工妈妈耐心、细致、科学和充满爱心的照顾下，如何成功度过充满死亡危机的生命历程。


　　SUN Jianying, director of "The crisis is Over, The Danger is Past"
　　We have, during the past ten years, planned and produced three documentaries about the giant panda, shooting from different cut-ins: Report from Hometown of Giant panda, To Continue the Family Line, and The Crisis is Over, The Danger is Past.
　　The crisis is Over, The Danger is Past picked up the crucial problem in the breeding of giant pandas, i.e. how do human beings help the mother panda bring up twins successfully. We focused on one of the twins abandoned by the mother panda after delivery, and presented the life experience of a baby panda who pulled through all the deadly crises under its human mother's patient, meticulous, scientific, and love-bearing care.



《漓江渔家》编导陈立新：  

　　 刚介入《漓江渔家》的选题，我首先想到要把我所认识到的漓江最美的景色贯穿整个片子，在如诗如画的山水景色中反映漓江渔民的生活；可是，当我在渔船上住了几天之后，我发现，漓江渔民生活中的美并不完全在摄影家镜头里的优美画面之中，他们生活中的美是更自然、更朴素、更内在的美。

　　CHENG Lixin, director of Fishing on the Li River
　　My original idea was to emphasize the magnificence of Li River to give audience and impression that these fishermen live in a place like Shangri-La. But the life with the fisherman changed my plan entirely. The fsherman's life is natural, simple and implicative. But these attractive characteristics couldn't be presented only by beautiful scenery. I feel more difficult to begin my my story after I realize that.