與中國電影人賈樟柯的對話_媒體學dissertation
“在我考入電影學院的第二個年頭也就是1995年，我和其他10同學已經想拍攝一部電影，但是因為資金和拍攝機會不成熟而擱淺。所以我們建立了青年電影實驗小組并獨立制作了三部短片。我們開始在一起練習、思考、討論電影。在這個小組里有編劇、制片人、攝影師、健全的軌道技術員和導演。我們以合作來組成一個完整的團隊。我們的目標是可以達到一個有機會拍電影并努力填補紀錄片和sperimental流派之間的空白的途徑。我們拍的第一部短片叫《有一天，在北京》，然后有《小山回家》和后來的《嘟嘟》，之后是《小武》。這個小組的主要成員至今仍然跟我一起工作并且是我最重要的合作者，比如說導演助理。
"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.
我的活動在國內是不能被保證的。我需要一個開放的國際空間，因為我已經找到了一些投資者。我已經選擇在香港，因為它仍然保持自由的空間和再加上它的一個中國的地方，這幫助我的溝通。因此我們做出了決定：在香港建立我們的落腳點。這對我來說，好像一個最佳的妥協，因為在北京依賴國際的合作是十分困難的。
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
