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你不属于

影展与论坛手册 A Catalogue for the Film Festival & Forums


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项目总监 :张颂仁 学术主持 :陈光兴、高士明 影展策展人 :阿希什 • 拉贾德雅克萨 项目统筹 :陈韵、蒋亦凡 主办 :汉雅轩 / 印度驻华大使馆 / 中国美术学院跨媒体艺术学院 协办 :魔灯基金会(新德里)/ 文化与社会研究中心(班加罗尔)/ 印度驻上海总领馆 / 印度驻广州总领馆 / 复旦大学新闻学院 / 上海大学中国当代文化研究中心 承办 :伊比利亚当代艺术中心 / 北京电影学院 / 尤伦斯当代艺术中心 / 上海影视文献图书馆 / 民生现代美术馆 / 广东美术馆 / 学而优书店 / 博尔赫斯书店艺术机构 / 云南源生坊民族文化发展中心 / 华东师范大学传播学研究中心 / 热风电影社 支持 :梦周文教基金会 / 伯仲国际文化投资有限公司 /ZEE TV 媒体支持 :中国财富 / 当代艺术与投资 / 艺讯中国 / 凤凰网 / 文汇网 / 中新社云南新闻网

Commissioner: Chang Tsong-zung Academic Directors: Kuan-Hsing Chen, Gao Shiming Film Festival Curator: Ashish Rajadhyaksha Project Coordinators: Chen Yun, Jiang Yifan Hosted by: Hanart TZ Gallery/Embassy Of India, Beijing/School of Intermedia Art, China Academy of Art In collaboration with: Magic Lantern Foundation, New Delhi/Centre for the Study of Culture and Society, Bangalore/Consulate General of India, Shanghai/Consulate General of India, Guangzhou/School of Journalism, Fudan University/Center for Contemporary Cultural Studies, Shanghai University

手册设计 :奥里吉特·森、段维佳

Catalogue designed by: Orijit Sen, Duan Weijia

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京沪穗昆四城影展日程和地点安排 : Time Frameworks and Venues for 4 Cities:

伊比利亚当代艺术中心 | Iberia Center for Contemporary Art

11月25日—12月4日 Nov. 25th~Dec. 4th

北京电影学院 | Beijing Film Academy 尤伦斯当代艺术中心 | Ullens Center for Contemporary Art

复旦大学新闻学院 | School of Journalism, Fudan University

12月3日—11日 Dec. 3rd~11th

上海影视文献图书馆 | Shanghai Film and TV Literature Library 民生现代美术馆 | Minsheng Art Museum 华东师范大学闵行校区 | East China Normal University, Minhang

广东美术馆 | Guangdong Museum of Art

12月5日—18日 Dec. 5th~18th

12月12日—25日 Dec. 12th~25th

学而优书店 | Xooyo Book Shop 博尔赫斯书店艺术机构 | Libreria Borges Institute for Contemporary Art

云南源生坊民族文化发展中心

Yunnan Yuansheng Idigenous Culture Development Centre

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关于“你不属于” 2010 年,在上海双年展的架构下,“西天中土”计划以“时 • 地 • 戏 :印 中当代艺术展”和“印中社会思想对话”两种形态与公众见面。艺术展部分 包括了十位印度艺术家 / 团体和五位中国艺术家 / 团体的新作品 ;社会思想 对话则邀请了阿希斯 • 南迪、帕萨 • 查特杰、杜赞奇、霍米 • 巴巴、特贾斯 维莉 • 尼南贾纳、迪佩什 • 查卡拉巴提、萨拉 • 马哈拉吉七位世界级的印裔 学者,来沪与港、台、大陆思想界和艺术界进行深入对话。此外,为了深化 与扩大实质性对话,我们还翻译出版了八册主讲者重要论文的读本。由此, “西 天中土”开启了一波印中当代思想界的互动,被誉为“自上世纪 20 年代泰 戈尔访华以来最重要的大规模中印思想交流活动”。 背负着各界的期许,“西天中土”计划的工作团队於 2011 年 3 月再次走访 印度德里、孟买、班加罗尔、加尔各答四个城市,带了许多问题与去年来访 的朋友们继续对话,听取他们对于计划未来的推进建议,也在他们的生活空 间里进一步体会孕育他们思想的土壤。访问结束后,我们决定今年以“影展 加论坛”的复合形式,以电影为媒介,来推进社会思想交流。 我们很高兴能够邀请到印度著名电影史家阿希什 • 拉贾德雅克萨(Ashish Rajadhyaksha)先生担任策展人,以“你不属于 :印度电影的过去与未来” 为题,展出包括剧情片、纪录片和实验影像在内的 30 余部印度独立电影, 于 2011 年 11 月和 12 月间,在北京、上海、广州、昆明接力放映,将宝莱 坞以外的印度电影最新实践带给中国观众。 在影展进行的同时,我们承继了去年社会思想对话的精神和形式,策划了题 为“你不属于 :印中电影与社会思想对话”的系列论坛。来自印度的十余位 电影学者、导演将与中国的电影创作者、理论家和社会思想者展开多个层面 的交流,以此促进中国电影理论的更新,以及电影理论和社会思想之间的互 动。由策展人阿希什 • 拉贾德雅克萨编辑的与影展内容相呼应的印度电影研 究文集《你不属于 :印度电影的过去与未来》 (世纪文景出版)也将同期发布, 向中国读者呈现印度的社会科学理论界如何尝试理解她的电影现象。此书也 将成为本次社会思想对话的重要媒介。 我们期待今年的印中对话能够比去年更进一步,碰撞出新知识的火花,也希 望各界持续给予我们关注与支持,让我们能够有动力继续前进。 西天中土计划网站 :http://westheavens.net

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About You Don’t Belong West Heavens is an initiative for fostering ties between India and China through collaborations in art and social thought. In 2010, West Heavens presented a major art exhibition alongside a series of intellectual forums, as the first step of a series of cultural engagements between China and India (historically referred to as the West Heavens in China). Both the Art Exhibition and the India-China Summit on Social Thought were highly acclaimed by both the public and experts. “You Don't Belong: Pasts and Futures of Indian Cinema” is the upcoming project for 2011, which is a season of films accompanied by forums on film and social thought showcasing a full range of recent Indian cinema, specially selected and assembled, to make an argument about the moving image in India. The selection includes feature-length fiction films, documentaries and experimental video. For this occasion we are also publishing a Reader (under the same title) that includes newly translated writings selected from 30 years of writing on Indian cinema. Parallel to the film festival are a series of forums and roundtables called “India China Dialogue on Film and Social Thought” which bring together Indian film and social theories alongside the film season. Important film scholars, researchers and filmmakers are invited to join the discussion with their Chinese counterparts. Starting from Beijing, the forums and talks will also travel to other cities to meet the local intellectuals, filmmakers and film lovers as an integral part of the whole program. The film festival opens on Friday, November 25th and the forums the next day, both at the Iberia Center for Contemporary Art in Beijing. Events in Shanghai, Guangzhou, and Kunming will follow. Official website: http://westheavens.net/en

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《你不属于 : 印度电影的过去与未来》 (上海人民出版社,2011 年)

You Don’t Belong: Pasts and Futures of Indian Cinema (A Reader) 《你不属于 :印度电影的过去与未来》是西天中土项目出版计划的一部分,是配合“你 不属于 :印度电影的过去与未来(影展)暨印中电影与社会思想对话(论坛)”出版的 学术著作。 印度以“世界最大的电影生产国”而名闻天下,但我们不了解这一事实对于印度的社 会现实有着何种涵义。配合一场由 30 多部电影组成的同名印度电影展映,我们试图向 观众展示印度电影纷繁的实验面貌。这一卷论文涵盖了针对过去 30 年印度电影的写作, 展现了印度的社会科学理论如何尝试理解印度的电影现象。 本书是 25 年来中国大陆出版的第一本关于印度电影的文集 , 也是对于印度电影的首次 集中论述和引介。 You Don’t Belong: Pasts and Futures of Indian Cinema is a part of the publishing initiative of the West Heavens Project, and an academic publication associated with the event of “You Don’t Belong: Pasts and Futures of Indian Cinema & India-China Dialogue on Film and Social Thought”. Indian is well known for being the ‘largest filmmaking country’ in the world. Less clear is what this fact signifies for the subcontinent’s social reality. You Don’t Belong: Pasts and Futures of Indian Cinema, accompanies a major film package of more than 30 film titles, to provide a kaleidoscope of the experimental face of the Indian cinema. This volume of essays covers writing on the Indian cinema over the past thirty years, and seeks to capture the way India’s social science theory has sought to understand the cinematic phenomenon. It is the first book on Indian cinema that has been published in Mainland China in 25 years.

编者简介 : About the Editor: 阿希什· 拉贾德雅克萨是印度电影与文化研究理论家,位于 班加罗尔的文化与社会研究中心的高级研究员,以及《印度 电影百科全书》的作者之一。他是 11 月 25 日至 12 月 25 日 期间在北京、上海、广州和昆明举行的“你不属于 :印度电 影的过去与未来”影展的策展人。 Ashish Rajadhyaksha is a Senior Fellow at Centre for the Study of Culture & Society, Bangalore, an author of The Encyclopedia of Indian Cinema. He is the curator of the ongoing film festival You Don’t Belong: Pasts and Futures of Indian Cinema, which is taking place in Beijing, Shanghai, Guangzhou and Kunming from November 25 to December 25, and the editor of the current book.

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魔灯基金会与“你不属于” 魔灯基金会是一个自 1989 年以来在文化与权利领域开展工作的非赢利团体。由 于认同新兴的纪录片实践在美学、政治方面的生命力,并以直觉观察到纪录片 与观众之间的鸿沟,于是魔灯参与到纪录片的制作、发行与展映之中。每年,魔 灯在德里举办的电影节“持续抵抗”,都会在印度及世界范围内的多个城市巡展。 魔灯正在为发行独立电影和建立一个不断扩大的公众可及的独立电影档案库而持 续发展公平、透明的收入模式,矢志投身于促进文化在公共领域的传播。 在本次“你不属于”项目中,魔灯基金会作为主要合作伙伴,协助策展人阿希什 • 拉贾德雅克萨落实了影展多方面的工作,从多种来源取得了影片放映权和母带, 对影片的组合与放映以及观看方式提供了建议。魔灯亦协助制作了字幕和数码放 映母片,创造了影展的多种形式——从放映到音像图书馆再到 DVD——并最终确 定了让这一系列影片和这一影展得以巡回展映的方式。 魔灯基金会官网 : http://magiclanternfoundation.org/

Magic Lantern Foundation and You Don't Belong Magic Lantern is a non-profit group working with culture and rights since 1989. Identifying with the aesthetical and political impulse of the emerging documentary practice, and with an intuitive sense of the gap that separates the documentary from its audiences, ML is involved with the production, distribution and exhibition of documentaries. Each year Persistence Resistance, ML’s annual film festival in Delhi, travels to many cities in India and internationally. ML is continually evolving fair and transparent revenue models for distribution and building an ever-expanding publicaccess archive of independent films, committing itself to the circulation of cultures in the public domain. In this year's You Don't Belong project, as a major partner, Magic Lantern supported the curator Ashish Rajadhyaksha to actualize the film festival. MLF sourced films and screening masters from diverse sources, suggested combinations and multiple viewing and screening practices. MLF assisted in subtitling, in creating digital screening masters, in creating different versions of the festival – from screening to library to DVD - and finally by locating ways to make the films and the festival to travel. Official website: http://magiclanternfoundation.org/

魔灯基金会为本次“你不属于”影展制作了一套包括影展片目中的 26 部影片的 DVD, 一共八张,将在影展现场展示,如需购买请联系 :magiclantern.foundation@gmail.com

Magic Lantern Foundation has made 26 films from the You Don't Belong package available in the form of 8 DVDs. They will be on display during the film festival. To purchase, please contact: magiclantern.foundation@gmail.com

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你不属于 : 印度电影的过去与未来 策展人陈述

“你不属于”是一个电影季,它将展映一批由我们精心挑选、 组合并翻译和添加字幕的近期印度电影,以此表达我们对印度 电影的观点。它包括剧情长片、纪录片和实验影像,同时辅以一 本读本《你不属于 :印度电影的过去与未来》,该书囊括了新 近翻译的一批在过去三十年中写就的论述印度电影的文章。 电影季和读本两者都在透过独立电影来探索移动图像在印度 这个“世界最大的电影生产国”的角色。在此展映的电影所探 索的,是电影从胶片时代——一个由发展主义意识形态、国家 间战争、政治行动和公民权组成的时代——向一个全球化了的 和数码影像的新时代的转变。这是一个影像创作平民化的时 代,一个“流媒体”的时代,一个数码治理的时代。一种新 的电影主人公已经浮现——有时是电影作者,有时是影像活跃 分子,有时则是一个虚构的主人公 :它有时是一个超可见的

(hypervisible) 在场者,与一部“无处不在”的摄像机如影随形, 有时则是一个不可见却洞察一切的人物。所谓的“属于”某个 地方——某个社区、城市,甚或国家,被与一个不属于的、不 在场的窥视者相对照。 产生这种新型主体的部分原因在于数字技术的普及,它允许普 通人也能成为电影作者,使摄影机得以无处不在。 阿希什·拉贾德雅克萨

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YOU DON’T BELONG:

Pasts and Futures of Indian Cinema Curator’s Statement You Don’t Belong is a season of recent films, specially selected, assembled and subtitled, to make an argument about the moving image in India. It includes feature-length fiction films, documentaries and experimental video, alongside a reader, titled Persisting Visions: Pasts and Futures of Indian Cinema, that includes newly translated writings of a selection of over 30 years of writing on the Indian cinema. Both the film season and the Reader explore, through its Independent cinema, the role of the moving image in the world’s ‘largest filmmaking country’ in the world. The films shown here will track a hindsight view of the transition that has taken place in the cinema from the era of celluloid – and from an era of developmental ideologies, wars between nations, political action and of citizenship – into a new globalized era, of the digital moving image, of transnational flows and leakages, the domestication of mechanical movement, of ‘streaming’, and of digital governance. A new kind of cinematic protagonist has emerged, sometimes a filmmaker, sometimes a video activist, sometimes a fictional protagonist: at different times a hypervisible presence, with a camera that is ‘everywhere’, and also an invisible, all-seeing figure one. The claim to ‘belonging’ somewhere, to a neighborhood, a city or even a country, is set against a nonbelonging, absent voyeur. Part of the reason for this new subject is the free availability of digital technology, allowing people at large to become filmmakers, and to also make the camera into a ubiquitous presence. Ashish Rajadhyaksha

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影展第一部分

移动图像之实验

第一部分 移动图像之实验 印度三十年来的重要移动图像实验将在这里展映,囊括了胶片和数字平台制作的 作品。 “移动图像之实验”横跨了从 1980 年代和 1990 年代的里程碑式的胶片作品, 到 21 世纪早期的数字实验影像。 本次影展将玛尼 • 考尔创作于 1989 年的影片《希德什瓦里》树立为其具有标志 性的实验作品,在此片中,一部当代的纪录片着手去挖掘一位传奇色彩的图穆里 歌手和艺伎的形象。这部作品与一部非常新的纪录片作品,斯帕丹·班纳吉的《你 不属于》形成对照,此片探讨了何以即便是十分当代的艺术创作实践,一旦进入 公共领域后就会被东方化和古代化。这几部作品由古到今,共包括三个板块。在 “长期的文化遗产和独立电影”板块探讨一个印度独立电影中的一个传统持久关 心的命题 :移动图像的文明可能性,特别是它为有可能会消亡的实践和生活方式 注入新的生命力的能力。我们会看到阿米特 • 杜塔完成于 2010 年的、关于那位 传奇式的 18 世纪克什米尔画家的影片《奈恩苏克》,与之并置的是 R•V• 拉马尼 的经典作品《Saa》,阿格亚 • 巴苏的《死、生等等》,并以库马 • 夏哈尼的关于 舞者基路甲蓝 • 莫汉帕洽的史诗作品《潜在之神》结束。在“景观 / 历史”板块 中,苏克德夫的《印度 1967》中的 1960 年代与一个十分不同的有关历史景观的 理念形成对照,那是莫尼卡 • 巴辛的作品《暂时失去知觉》中的印巴分治的遗产, 在此之后是维万·桑达拉姆的实验影像作品中的被污染的,然而充满历史感的景 观。“电影、工具和残骸”板块将我们带回到胶片、悬疑、默片和无线电这些工具, 它们出现于普什帕玛拉的鬼片中,K•M• 马杜苏丹南和维品 • 维杰的有关电影和 无线电的短片中,阿希什 • 阿维昆塔克的淹没象头神伽内什的仪式表演中,以及 苏拉比 • 夏尔马对于契约移民工的音乐旅程的追寻中。 阿希什·拉贾德雅克萨

这一部分的影片 : 《潜在之神》(库马尔·沙哈尼,奥里雅语,1991 年) 《死、生等等》(阿格亚·巴苏,英语,2008 年) 《漂浮》(维万·桑达拉姆,无对白,2008 年) 《风之宫殿》(维品·维杰,英语,2003 年) 《历史是一部默片》(K·M·马杜苏丹南,英语,2006 年) 《印度 1967》(S·苏克德夫,无对白,1967) 《吃石头的人》(尼基·乔普拉、穆尼尔·卡巴尼,无对白,2011 年) 《奈恩苏克》(阿米特·杜塔,多格拉语,2010 年) 《巴黎秋日》(普什帕玛拉·N,英语,2006 年)

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Film Package Part 1: Experiments with the Moving Image

《剃刀、血,和其他故事》(K·M·马杜苏丹南,无对白,2009 年) 《SAA》(R·V·拉马尼,无对白,1991 年) 《希德什瓦里》(玛尼·考尔,印地语,1989 年) 《暂时失去知觉》(莫尼卡·巴辛,英语,2005 年) 《追踪》(维万·桑达拉姆,无对白,2002~2004 年) 《旋转》(维万·桑达拉姆,无对白,2008 年) 《给象头神的献祭》(阿希什·阿维昆塔克,无对白,2010 年) 《你不属于》(斯帕丹·班纳吉,英语,2011 年)

Part 1 Experiments with the Moving Image We explore three decades of major experiments with the moving image, covering both celluloid and digital platforms. ‘Experiments with the Moving Image’ moves from landmark celluloid work in the 1980s and 90s to the digital experimental video of the early 21st century. The event sets up its iconic experiment as Mani Kaul’s 1989 film Siddheshwari, in which a contemporary documentary sets out to excavate the persona of a legendary Thumri singer and courtesan. The film is set against a very recent documentary, You Don’t Belong by Spandan Banerjee, about how even very contemporary practices can become orientalized and ‘ancientized’ as they enter the public domain. The selection goes back and forth in time, over three sections. Long-term legacies and the Independent Indian Cinema explores a consistent claim that a tradition of the independent cinema has made: around the civilizational possibilities of the moving image, particularly in its ability to reinvigorate practices, and ways of living, that could otherwise die out. We see Amit Dutta’s major 2010 film Nainsukh, on the legendary 18th Century Kashmiri painter, juxtaposed with R.V. Ramani’s classic Saa, Arghya Basu’s Death, Life Etc… and end with Kumar Shahani’s epic work on the dancer Guru Kelucharan Mahapatra, Bhavantarana. In Landscape/History, the 1960s of Sukhdev’s India 67 is contrasted with a very different idea of the historical landscape, a legacy of the Partition of India in Monica Bhasin’s Temporary

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影展第一部分

移动图像之实验

Loss of Consciousness, followed by the polluted and yet historically replete landscapes of Vivan Sundaram’s experimental videos. India: Cinema, Apparatus, Debris takes us back to the apparatus of celluloid, of suspense, of the silent movie, and of radio, in Pushpamala’s ghost-movie, K.M. Madhusudhanan and Vipin Vijay’s shorts about the cinema and radio, and Ashish Avikunthak’s ritual re-enactment of the immersion of the elephant god Ganesha amid the pollution of the city, and Surabhi Sharma’s retracing of the musical journey of indentured immigrants. Ashish Rajadhyaksha

Films in this section: Bhavantarana (Kumar Shahani, Oriya, 1991) Death, Life Etc. (Arghya Basu, English, 2008) Flotage (Vivan Sundaram, Wordless, 2008) Hawa Mahal/Palace of the Winds (Vipin Vijay, English, 2003) History is a Silent Film (K.M. Madhusudhanan, English, 2006) India 67 (S. Sukhdev, Wordless, 1967) Man Eats Rock (Nikhil Chopra/Munir Kabani, Wordless, 2011) Nainsukh (Amit Dutta, Dogri, 2010) Paris Autumn (Pushpamala N, English, 2006) Razor, Blood and Other Stories (K.M. Madhusudhanan, Wordless, 2009) Saa (R.V. Ramani, Wordless, 1991) Siddheshwari (Mani Kaul, Hindi, 1989) Temporary Loss of Consciousness (Monica Bhasin, English, 2005) Tracking (Vivan Sundaram, Wordless, 2002-2004) Turning (Vivan Sundaram, Wordless, 2008) Vakratunda Swaha (Ashish Avikuntak, Wordless, 2010) You Don’t Belong (Spandan Banerjee, English, 2011)

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Film Package Part 1: Experiments with the Moving Image

潜在之神 1991 年,62 分钟,彩色,奥里雅语 导演 :库马尔·沙哈尼(Kumar Shahani) 音乐 :哈里普拉萨德·乔拉西亚 摄影 :阿洛可·乌帕德亚雅 主要演员 :古鲁·贾兰·莫哈帕特拉、桑朱克塔·帕尼格拉普 阿希什 • 拉贾德雅克萨 :这是沙哈尼创作的一部关于现代印度的最伟大 的表演家古鲁 • 贾兰 • 莫哈帕特拉(Guru Kelucharan Mahapatra)的舞蹈 艺术的经典纪录片。后者是印度古典舞蹈形式的奥迪西(Odissi)的代表 人物(也有人说是发明者)“古典”舞蹈的角色在现代印度一直具有争议, 因为这种舞蹈形式常常表现为早期(殖民 - 封建)社会性表演的经过文化 净身的版本。这种现代 - 古典舞蹈形式常被作为全国 - 地区性艺术形式的 文化要素,通常直接通过现代表演大师而创造出来。比如,由如科弥尼德 维 • 阿荣达勒创造的婆罗多舞,或是基于卡拉曼达拉姆 • 克里须南 • 奈尔 的表演的卡塔卡利。于是,作为奥利萨邦的民族舞蹈的奥迪西舞在古鲁 • 贾兰 • 莫哈帕特拉的艺术加工之下,从早期主要由男童表演的戈提普阿舞 (Gotipua,一译“哥弟宝”)发展起来。 沙哈尼的影片拍摄于该舞蹈艺术最具创造力的巅峰时期,完整再现了莫哈 帕特拉的舞蹈艺术辉煌的丰富性。影片中有数段特地为影片编舞、由莫哈 帕特拉本人表演的舞蹈段落。此片在创作过程中也与另一位来自奥利萨的 现代宗师——笛子演奏家哈里普拉萨德 • 查拉西亚合作。 影片以沙哈尼关于表演的雕塑源头的历史唯物主义的观点开始 :在表演中, 有一个雕工从一块石头中凿出人体造型。人体造型与传奇式的奥迪西舞蹈 家(莫哈帕特拉的学生)桑朱克塔 • 帕尼格拉希相关。导演描述该片是一部“关 于饥饿”的影片,片中将舞蹈还原为它所赞美的劳动与对抗编排和控制的 即兴发挥。影片中的许多种舞蹈,包括结尾时的《九味舞》(Navarasa,构 成印度美学体验的九种“情绪”)段落,皆是专为电影而创作。 在我们的排片中,《潜在之神》与阿格亚 • 巴苏的《死、生等等》、玛尼 • 考尔的《希德什瓦里》,以及阿米特 • 杜塔的《奈恩苏克》都旨在探索一个 对“古代”文明而言颇为熟悉的问题,即 :现代的表达方式如何能让先于 机械移动影像技术很久出现的文化实践得以复兴?

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影展第一部分

移动图像之实验

BHAVANTARANA 1991, 62 minutes, colour, Oriya Director: Kumar Shahani Camera: Alok Upadhyay Music: Hariprasad Chaurasia Lead players: Guru Kelucharan Mahapatra, Sanjukta Panigraph Ashish Rajadhyaksha: Shahani’s classic documentary on the dance of one of modern India’s great performers, Guru Kelucharan Mahapatra, exponent (and some say inventor) of the classical dance form of the Odissi. The role of ‘classical’ dance in modern India has been controversial, since such dance forms have often emerged as culturally sanitized versions of earlier (colonialfeudal) social performance. Such modern-classical dance forms have often been created as cultural components of national-regional art forms, and literally on the bodies of modern masters of performance. For example, the Bharata Natyam as produced by Rukminidevi Arundale, or the Kathakali built on the performance of Kalamandalam Krishnan Nair. The Odissi, the national dance form of the state or Orissa, thus emerges on the abilities of Guru Kelucharan Mahapatra from the earlier from of the Gotipua, a dance practiced mainly by young boys. Shahani’s film captures all of Mahapatra’s dance in its splendid fullness, and was shot at the very peak of the dancer’s creativity. The film has several performances by Mahapatra choreographed in tandem with the camera, and also works with the close involvement of another modern master from Orissa, the flautist Hariprasad Chaurasia. The film begins with Shahani’s historical-materialist claim to the origins of all sculpture in performance: it has a stone sculptor chiseling a human form from a piece of stone. The human form is effectively linked to legendary Odissi dancer (and Mahapatra’s student) Sanjukta Panigrahi. Described by the director as a film ‘about hunger’, it returns the dance to both the labour that it celebrates and the improvisations that continue to defy codification and control. Many of the dances, including the spectacular Navarasa (the nine ‘rasas’ that form the sum total of Indian aesthetic experience) sequence at the end, were choreographed specially for the cinema.

Bhavantarana comes together, in this seletion, with Arghya Basu’s Death, Life Etc., Mani Kaul’s Siddheshwari and Amit Dutta’s Nainsukh to explore a problem well known to ‘ancient’ civilizations, namely, how can modern forms of expression resurrect cultural practices that long precede the technology of the mechanical moving image?

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Film Package Part 1: Experiments with the Moving Image

死、生等等

2008 年,81 分钟,彩色,英语 导演 :阿格亚·巴苏(Arghya Basu) 摄影 :阿格亚·巴苏,马纳斯·巴塔查理亚、拉尤拉·沙阿 音效 :叔巴迪普·森笈多 剪辑 :阿格亚·巴苏、拉尤拉·沙阿 音乐 :阿纳哈德

阿希什 • 拉贾德雅克萨 :影片跟踪记录一位年轻的不丹企业家吉格梅 • 诺尔布 • 拉谢帕的故事,他想在他的家乡拉谢村开拓旅游业。那里的最大卖点之一是 :电 话和卫星电视都还没尚未涉足。真的吗?这一年的藏历新年时,卫星电视天线开 始出现在村子里。这些天线现在竖起在村中,好像是在这个地球的最壮观、最偏 远地区的原始的山区美景中,羞怯地突显自己的形象。导演写道 : “悖论萦绕着 今日的不丹社会,这个社会正纠结于变动的记忆和祖先仪式的痕迹之间,生活和 时间在当代的虚构中丢失和找到。一个完全被世界遗忘的社区准备迎接下一个可 怕的寒冬。人们把荒凉的牧草地改造成可居住的场所,在蛮荒之地的中央,指地 为家。”

DEATH, LIFE ETC…

2008, 81 minutes, colour, English Director: Arghya Basu, Camera: Arghya Basu, Manas Bhattacharya, Rajula Shah Sound: Subhadeep Sengupta Editing: Arghya Basu, Rajula Shah Music: Anahad Ashish Rajadhyaksha: The film tracks the story of a young entrepreneur from Bhutan, Jigme Norbu Lachenpa, who wants to promote tourism in his home village of Lachen. Among its major claims – the telephone and satellite television have not yet come here. Or haven’t they? The Lossar festival this year sees the entry of satellite Dish TV antennae. The antennae, now poking out as though shyly transgressing their presence amid primitive mountainous splendor in some of the most spectacular and inaccessible regions of the world. Paradoxes, the filmmaker writes, ‘haunt present-day Bhutia societies grappling with shifting memories and traces of ancestral rituals; lives and times lost and found in contemporary fiction. An entire community skirted by oblivion prepares to take on a demonic icy winter. Barren pastures transform into habitable territory; at the heart of epic wilderness one consecrates space as homeland’.

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影展第一部分

移动图像之实验

漂浮 2008 年,8 分钟,彩色,无对白 导演 :维万 • 桑达拉姆(Vivan Sundaram)

阿希什 • 拉贾德雅克萨 :四名桨手庄严地划着木筏泛舟河面 :这原本可能 会是殖民版画上的一景。然而,这里的木筏是由旧的塑料矿泉水瓶制成的, 跨越的是贯穿德里、受到污染的亚穆纳河。《漂浮》是桑达拉姆围绕德里的 主河流创作的一系列公共艺术作品中的一件,是城市艺术项目“48℃公共 艺术生态学”的一部分(详情请见 http://www.48c.org/index.html)的组成 部分。该片呈现了一段倾力合唱配乐下的庄严河流之旅,延续了桑达拉姆 将废弃品变为建筑物体的痴迷。 作为桑达拉姆对马塞尔 • 杜尚的“拾得艺术品”传统的调用,塑料矿泉水 瓶也体现出他对垃圾品的长久兴趣。艺术评论家蔡坦尼亚 • 桑布拉尼对他 的垃圾作品点评道 :桑达拉姆的垃圾城捕捉到了根本性转变的瞬间,这既 是所有的城市,也不等同于任何一个城市。“这一作品由砖块,罐头,晶体 管,电线,石头,瓶子,管子,易拉罐,泥土,胶布,纸盒和玻璃搭建而成, 是一个与其它的全球人工制品并行的重构过程。”桑布拉尼从中国艺术家邢 丹文和刘建华的作品的作品中发现了与桑达拉姆作品的呼应,尤其是邢丹 文的摄影系列《绝缘》(2002-2003),它呈现了废弃电子设备积聚而成的复 杂结构,和刘建华的展览《义乌调查》(2006),它聚焦于巨量的消费废品 被进口到义乌之类的中国城市,在那里再生的过程。

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Film Package Part 1: Experiments with the Moving Image

FLOTAGE

2008, 8 minutes, colour, wordless Director: Vivan Sundaram Ashish Rajadhyaksha: Four oarsmen row, in stately manner, a raft over a river: it could have been a scene from a colonial etching. However, the raft is made from used plastic mineral water bottles, and the river is the polluted Yamuna that runs through Delhi. Flotage is a video forming a part of a public art work that Sundaram had done around Delhi’s major river, as a part of an urban arts project (48°C Public.Art.Ecology, see http://www.48c.org/index.html), and is a video document of that project. The video, a stately journey across the river set to full-throated choral music, continues Sundaram’s fascination with throwaway waste converted into architectural objects. An explicit invocation to the tradition of the objet trouvé in the tradition of Marcel Duchamp, Sundaram’s plastic bottles of minéral water also evoke his own long interest in trash objects. Art critic Chaitanya Sambrani writes, of Sundaram’s Trash work, that Sundaram’s trash-city is now caught at moments of fundamental transition where it is simultaneously all cities and none. ‘Constituted through bricks, cans, transistors, wire, stone, bottles, pipes, tins, mud, tape, cardboard and glass, this is a reconstitution that parallels other global artefacts’. Sambrani sees echoes of the work of Chinese artists Xing Danwen and Liu Jianhua, particularly Xing Danwen’s photographic series disCONNEXION (200203) which presents intricate accumulations of discarded electronic devices, and Liu Jianhua’s installation Yiwu Investigation (2006), which concentrates on the import of vast tonnages of post-consumer scrap into cities like Yiwu in China where it is recycled.

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影展第一部分

移动图像之实验

风之宫殿 2003 年,55 分钟,彩色,英语 导演 / 摄影 :维品 • 维杰(Vipin Vijay) 剪辑 :德布卡马尔·甘古力 音效 :叔巴迪普·森笈多 (副标题为“风之宫殿 :一部有关无线电的电影”) 阿希什 • 拉贾德雅克萨 :维杰的《风之宫殿》 已经成为 21 世纪初期主观纪录片的地标式的作品。“风之宫殿”曾经也是商业广播频道“活力 印度”最受欢迎的节目,以播放印地语电影歌曲而闻名。在本次电影节中,该片与 K•M• 马杜 苏丹南的《历史是一部默片》和普什帕玛拉的《巴黎秋日》一同放映,以创造一种对于印度大 众传媒工具的记忆的鬼魅般的阴暗面。一个老人在火车上接受听力检查,与此同时,影片进入 各种短小的、断断续续的场景,这些场景唤起横跨印度的各种声音、录音技术、距离和接收器。 在结尾处,维杰说,当一个盛装的湿婆神穿过一个空车厢的场景,提出了有关无线电的更大的 角色的话题——无线电或许会被认为已经中和了甚至克服了民族主义,但是它恰恰在唤起最具 活力的远古时代的部落鬼魅。这部纪录片以一种主观的凝视,通过一种被认为早已消亡的国家 工具,再生产了一种过去。苏克德夫、马杜苏丹南、普什帕玛拉和维杰,以及阿维昆塔克,都 聚到一起来探索与技术的主观关系。

HAWA MAHAL (PALACE OF THE WINDS) 2003, 55 Minutes, colour, English Director/Camera: Vipin Vijay Editing: Debkamal Ganguly Sound: Shubhadeep Sengupta Ashish Rajadhyaksha: Vijay ’s Hawa Mahal (subtitled Palace of the Winds: a Film on the Radio) has become something of a landmark work in the career of the early 2000s subjective documentary. Hawa Mahal was also the name of one of the most popular radio programmes on the commercial Vividh Bharati channel, known mainly for playing songs from the Hindi cinema. In this festival, it is shown alongside K.M. Madhusudhan’s History is a Silent Film and Pushpamala’s Paris Autumn, to produce something of a ghostly underside of memories for the apparatus of mass media in India. An old man in a railway train is examined for his hearing, as the film moves into short, staccato sequences evoking sound, recording technology, distances and receivers across the Indian landscape. The end, says Vijay, as a fully made up Shiva moves through an empty train compartment, evokes the larger role of the radio, as something that may have neutralized or even overcome nationalism but instead evokes archaic tribal ghosts of the most vigorous brand. The documentary reproduces, in subjective gaze, a past through an apparatus of the state that many have considered long dead. Sukhdev, Madhusudhanan, Pushpamala and now Vijay, and, we will see next, Avikunthak, all come together here to explore subjective relationships to technology.

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Film Package Part 1: Experiments with the Moving Image

历史是一部默片 2006 年,18 分钟,黑白,英语 导演 :K•M• 马杜苏丹南(K.M. Madhusudhanan) 摄影 :M•J• 兰达克利希南

阿希什 • 拉贾德雅克萨 :影片通过一位电影放映机修理员的故事,来探索 胶片电影时代、记忆,和有关永恒记忆的观念。乌斯曼巴依生活在旧德里, 他的父亲卡德尔巴依也在此修理胶片投影机。他们非常熟悉老帕斯和贝尔 豪这些机器,但是现在这些都已淘汰了,新的机器又不常坏,而且坏了也 很难修。 随着胶片图像一起消失的是旧德里贾玛清真寺周边的社区,那里现在正在 被清理。影片将乌斯曼巴依的职业的消失与电影的损失,以及自己亲近和 亲爱的人的消失联系在一起。个体也能够像胶片中的鬼魅一样重新出现吗? 如果百万人潮向我们行进过来?当图像随机地穿越历史片段,当电影在思 考着记忆、遗忘和有关失去的家乡和失去的人的政治,它同时也试图将这 种失去与胶片电影的消亡联系起来。马杜苏丹南的这部电影被与桑达拉姆 的《垃圾》系列作品安排在一起,因为两者都在旧德里的街巷和巴扎(市场) 中寻找它们的物质史。

HISTORY IS A SILENT FILM

2006, 18 minutes, black-and-white, English Director: K.M. Madhusudhanan Camera: M.J. Radhakrishnan Ashish Rajadyaksha: This inquiry into the era of celluloid film, memory, and the idea of eternal memory, is told through the story of a man who repairs film projectors. Usmanbhai lives in old Delhi, where his father, Kaderbhai, too worked to repair celluloid projectors. They knew well the old Pathes and Bell & Howells, but now these have become obsolete, and the new ones don’t break down too often, and anyway are more complicated to repair. With the disappearing images of celluloid is also disappearing the neighbourhood of the Jama Masjid, old Delhi, which is now getting cleaned up. The film links this disappearance of Usmanbhai’s profession with the loss of cinema, and thence the loss of near and dear ones. Can individuals too reappear like the ghosts of celluloid? What if a wave of a million people were to march towards us? As the images move randomly across history, and the film speculates on memory, forgetting, and the politics of lost homelands along with lost people, it also tries to link such losses with the demise of celluloid film. Madhusudhanan’s film is also set alongside Sundaram’s Trash work in that both seek their material histories on the streets and bazaars of old Delhi.

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影展第一部分

移动图像之实验

印度 1967 1967 年,55 分钟,彩色,无对白

1967, 55 minutes, colour, wordless

导演 / 摄影 :S• 苏克德夫(S. Sukhdev) 音乐 :维杰 • 拉伽夫 • 拉奥

Director/Cinematographer: S. Sukhdev Music: Vijay Raghav Rao

阿希什 • 拉贾德雅克萨 :这是纪录片作 者苏克德夫关于现代印度的无对话短片。 该片比他 1970 年代的宣传纪录片更加无言, 是一组衔接起全国不同地区、在农村和城 市所拍摄的镜头的蒙太奇。在其中一些场 景中出现了著名的政治人物,比如现在已 经是声名狼藉的右翼党派湿婆军头领的巴 尔 • 萨克雷在路边发表演讲。一些镜头为 萨耶吉特 • 雷伊称道——拉贾斯坦音乐家 鼻子上滴下的汗水,随之是沙漠中的一 只蚂蚁,或是那只在自行车上撒尿的狗。影 片有意识地让人回想起罗西里尼的《印度 57》。

Ashish Rajadhyaksha: Documentarist Sukhdev’s wordless short on modern India. A more muted work than his propaganda documentaries of the 1970s, this is a montage that strings together shots from various parts of the country, moving from the village to the city. Sequences include well-known political figures e.g. Bal Thackeray, now head of the notorious right-wing Shiv Sena, making a streetside speech. Some shots were admired by Satyajit Ray: the drop of sweat on the nose of a perspiring Rajasthani musician, followed by an ant on the desert sand, or the dog urinating on a bicycle. The film consciously recalls Rossellini’s India 57 (1958).

如果说玛尼 • 考尔的《希德什瓦里》是印 度最具标志性的前卫纪录片,那么苏克德 夫的关于 1960 年代的电影就应该是他所 处的时代的一部同等经典的前卫作品代 表。一个拉贾斯坦家庭在沙漠上的风的嚎 叫声中含辛茹苦。一个富人订餐桌的声音 从一家五星级酒店传出(很多拉其普特宫 殿已经成为酒店),与此同时一个部落妇 女杀死一条蛇,另一个则在喂养着她的孩 子,而同时一个男人在演奏着乐器。影片 无言地游荡过拉贾斯坦、泰米尔纳德、果 阿,当然还有孟买。有趣的是,它所预示 的,并不是 1960 年代中期的“印度的一天” 中的共时性,而是那种几乎是奇特的古旧 的正统现代主义生活,而这也是本片最终 所代表的。我们看到两位非常年轻的艺术 家,M•F• 侯赛因和 S•G• 瓦殊戴夫(朱 拉曼达画派的创始人之一)在工作,我们 看到由勒 • 柯布西耶设计的昌迪加尔城正 被营建,我们看到法西斯政客巴尔 • 萨克 雷穿着衬衫裤子在孟买的一家纺织厂门外 和人会面。

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INDIA ‘67

If Mani Kaul’s Siddheshwari is, arguably, Indian cinema’s iconic avant garde documentary, then Sukhdev’s 60s film would be equally classically a vanguardist representative of its own time. Desert winds howl as a Rajasthani family ekes out its everyday life. A rich man’s voice reserves a table in a five-star hotel (many of the Rajput palaces have become hotels), while a tribal woman kills a snake, another feeds her baby while a man plays a musical instrument. The film roams wordlessly through Rajasthan, Tamil Nadu, Goa, and of course Mumbai. What it signals, curiously, is not so much the simultaneity of a ‘day in India’ in the mid-1960s – but really the almost quaint ‘period’ life of high modernism that the film eventually stands in for. We see two very young artists, M.F. Husain and S.G. Vasudev (one of the founders of the Cholamandalam school of painters) at work, we see the city of Chandigarh, designed by Le Corbusier, being built, and we see the fascist political leader Bal Thackeray in shirt and trousers conducting a gate meeting outside a textile factory in Mumbai.


Film Package Part 1: Experiments with the Moving Image

吃石头的人 2011 年,22 分钟,彩色,无对白 导 演 :尼 基 • 乔 普 拉(Nikhil Chopra)、 穆 尼 尔 • 卡 巴 尼(Munir

Kabani) 摄影 :C•J• 阿尼尔 • 库马 演员 :伊夫 • 莱米斯尔、加纳 • 普列佩鲁、罗西 • 布拉甘扎、马达维 • 果尔、 穆希尔 • 苏德、穆尼尔 • 卡巴尼、尼基 • 乔普拉、希瓦尼 • 古普塔

阿希什 • 拉贾德雅克萨 :这是一件以三个世界为背景的,被处理为三幅 插图的影像作品。一个裸体的灵长类生物从岩洞中走出,凝视着一汪池水。 他的探求被与一个矫饰的、西装革履的“绅士”并置在一起,后者带着 高礼帽,穿着斗篷,试图在山地的顶部,点燃一团火焰。一群穿着考究 的男男女女,蜿蜒前行,去吃野餐。然后呢?结局?这个场面显然就是 为了发生一些十分夸张的事情而准备的。一个女人跟着德鲁帕德音乐起 舞。乔普拉作为一个以其非凡的探究殖民行为所做的破坏的表演艺术而 闻名的艺术家,现在用这部在关于礼仪的喜剧中探讨蒙昧性的电影作品 将这推向了一个新的高度。 在乔普拉和卡巴尼的世界中,电影被看作一种记录的手段,用以谈论表 征(representation)的功能。用作者的话来说,当我们被消费的需求和 欲望所压服时,这部影像作品试图质疑我们在这颗行星上的位置。 有趣的是,这件作品的创作最初是受爱马仕企业基金会的委托,用以在 一个叫做“H Box”的特别设计的“游牧”观影单元中放映,那里头最多 只能坐八个人。 乔普拉是印度著名的表演艺术家,他的联合导演卡巴尼曾经拍摄了乔普 拉的早期作品,包括《我该把这些土地怎么办?》以及《王侯爵士三世》—— 一个现场表演装置和摄影展。

21


影展第一部分

移动图像之实验

MAN EATS ROCK

2011, 22 minutes, colour, wordless Directors: Nikhil Chopra/Munir Kabani Cinematographer: C.J. Anil Kumar Cast: Eve Lemesle, Jana Prepeluh, Loise Braganza, Madhavi Gore, Mihir Sud, Munir Kabani, Nikhil Chopra, Shivani Gupta Ashish Rajadhyaksha: A video set in three worlds, and treated as three vignettes. A naked primate emerges from a cave, peering into a pool of water. His explorations are juxtaposed those of a foppish, fully dressed ‘gentleman’, with top hat and cape, seeking to light a fire atop a mountainous landscape. A group of elaborately costumed men and women, dressed to the nines, wind their way, to have a picnic. What next? A denouement? The scene is clearly set for something very dramatic to happen. A woman dances to the strains of dhrupad. Chopra, best known for his extraordinary work in performance art that has inquired into the depredations of colonial behaviour, now takes this to a new level with this cinematic exploration of primitivity amid a comedy of manners. In Chopra and Kabani’s worlds, film becomes a means of record making to talk about the function of representation. According to the filmmakers, the video attempts to question our place on this planet, as we get subsumed by our need and desire to consume. It is interesting to note that the piece was originally commissioned by the Fondation d'enterprise Hermes to be screened in the H Box, a specially-designed 'nomadic' viewing unit, comprising a capacity audience of no more than eight. Chopra is a leading Indian performance artist, and Kabani, his co-director, has photographed early Chopra works, including What will I do with all this land? and Sir Raja III, a live performance installation and photography show.

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Film Package Part 1: Experiments with the Moving Image

奈恩苏克 2010 年,82 分钟,彩色,道格里语 导演 :阿米特 • 杜塔(Amit Dutta) 摄影 :慕里纳尔 • 德赛 主演 :马尼什 • 索尼、尼蒂恩 • 戈尔、萨特 • 斯拉维、K• 拉杰什、斯里尼瓦斯 • 乔什、亚米尼 • 乔什

阿希什 • 拉贾德雅克萨 :这是一部关于 18 世纪帕哈里细密画画家奈恩苏 克的传记电影,主要来源于艺术史学家布彭德拉 • 纳特 • 戈斯瓦米 1997 年 的专著《古勒的奈恩苏克,来自小山邦的伟大印度画家》。该书囊括了其近 百幅绘画,从中可以推想出这位 18 世纪细密画家不同寻常的人生。这部电 影是戈斯瓦米(他在片中亲口朗读了奈恩苏克的自传手稿)与一位青年先 锋电影人的合作产物,从绘画作品本身来刻画出一位画家和拉贾 • 巴尔万 特 • 辛格宫廷中的一位侍臣和人生哲学家的生活历程。 和沙哈尼那部《卡雅尔传奇》(Khayal Gatha)走过的轨迹相似,《奈恩苏 克》正在成为一部当代经典。奈恩苏克的创作时期正值莫卧儿王朝走向没落, 莫卧儿细密画也受到时局动荡的影响。奈恩苏克来到古勒,他与自己的主 要资助人巴尔万特 • 辛格的关系非常亲近,却又受到封建等级的制约 ;他 保持着旁观者的身份,却也投入了一种时代和生活,在其间,他不仅创造 了一部本地历史,而且也孕育了一种本地的绘画语言。杜塔的师承在此是 很明显的 :除了玛尼 • 考尔,还有来自于亚美尼亚电影大师谢尔盖 • 帕拉 杰诺夫的画面的影响。在生活在前现代的印度艺术家,以及那些我们不能 直接面对的艺术家,很难在他们身上生产一种“无意识的”欲望——某种 类似于佛洛依德得以在列奥纳多 • 达 • 芬奇身上生产的东西——于是也就 很难去从他们的绘画行为中解读出一种表演的主体性。杜塔的策略是 :依 赖于我们对于奈恩苏克所知道的东西,但是其主体性则完全是通过绘画语 言和奈恩苏克不时留在其画作边缘的“笔注”来生产的。

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影展第一部分

移动图像之实验

NAINSUKH

2010, 82 minutes, colour, Dogri Director: Amit Dutta Camera: Mrinal Desai Lead players: Manish Soni, Nitin Goel, Sat Salarwi, K. Rajesh, Sriniwas Joshi, Yamini Joshi Ashish Rajadhyaksha: Biopic on the 18th Century Pahari miniaturist Nainsukh, derived mainly from art historian B.N. Goswami’s famous 1997 book on the subject (Nainsukh of Guler, A Great Indian Painter from a Small Hill-State). The book itself covers nearly a hundred paintings, extrapolating from them the extraordinary life of this 18th Century miniaturist. The film, a collaboration between Goswami, who personally reads out from Nainsukh’s own autobiographical jottings, and a young avant-garde filmmaker, works from the paintings themselves to carve out a life of a painter, a courtier and an observer of life in the Pahari court of Raja Balwant Singh. Nainsukh is heading to be a contemporary classic, in one sense in the tradition of Shahani’s Khayal Gatha (1989). Nainsukh’s own work happens at a time when the Mughal court is on the decline and with it, the national influence of Mughal miniature painting. He arrives in Guler where his relationship with his main patron, Balwant Singh is one of nearness, and yet of feudal distance, of observation and yet of investment into a life and a time when, with a local history, was also being born a local painterly idiom. Dutta’s forbears are evident here: apart from Kaul, the association of the great Armenian filmmaker Sergei Paradjanov’s tableaux. Of Indian artists in the pre-modern age, and those who are not – unlike, say Siddheshwari, of the previous example – available to us in person, it has been especially hard to produce in them an ‘unconscious’ desire similar to what, we may say, Freud was able to produce in Leonardo, and thus it has also been difficult to read into their acts of painting a performative subjectivity. Dutta’s strategy here is to depend on what we know of Nainsukh, but the subjectivity is produced entirely through the painterly idiom, and the “notes” that Nainsukh sometimes penned on the margins of his paintings.

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Film Package Part 1: Experiments with the Moving Image

巴黎秋日 2006 年,33 分钟,黑白,英语 导演 :普什帕玛拉 •N(Pushpamala N) 摄 影 :塞 德 里 克 • 萨 托 尼、 普 什 帕 玛 拉 •N 主演 :普什帕玛拉 •N、加布里埃尔 • 索 耶尔、塞德里克 • 维森特、伯纳德和根 诺雷 • 苏希尔、塞德里克 • 萨托尼

阿希什 • 拉贾德雅克萨 :普什帕玛拉是一位以摄影扮演作品而闻名的 视觉艺术家。这部她的首部完整电影,是一部哥特惊悚风格的虚构作品。 它讲述艺术家 2005 年秋天在巴黎居住的故事。随着她在玛黑区最古老的 街道租下了一个房间,奇怪的事情开始发生。这时她才意识到,她居住 的房间是曾经属于加布里埃勒 • 埃斯特雷(Gabrielle d'Estrées)——亨 利四世国王最宠爱的情人——的房子的外屋,这位昔日主人在她 26 岁即 将嫁给国王之时被杀,毫无疑问是被毒死的。从那一刻起,普什帕玛拉 必须去了解这个有着悲剧结局的女人。 当这位艺术家 / 表演者试图从阴魂不散的加布里埃勒 • 埃斯特雷身上探 索她自己的另一个自我的时候,她的早先的扮演作品,尤其是其中令人 瞩目的《幻影女郎》,就定义了一个新的维度。这部以经典的黑色电影风 格创作的录像作品,随着艺术家本人从原本仅仅是来法国参加一个艺术 展,到发现自己已经勾连于本地历史、她自己的叠加的和充满质疑的他者, 以及巴黎不可见的移民,而发掘出了表演的本质。 普什帕玛拉的找寻从卢浮宫开始,先是面对卡拉瓦乔的《女卜者》(The Fortune Teller),接着又是在小奥古斯汀小礼拜堂的俗气的氛围中。这 一追寻在巴黎各处展开,普什帕玛拉这个无处不在的浪荡者和侦探将其 组装入一个具有奥斯曼(乔治 - 欧仁 • 奥斯曼,曾于 19 世纪中期重建巴 黎——译注)式的视角的奇怪的地图,在其中艾菲尔铁塔和咖啡馆也给 人以城市暴力的印象。普什帕玛拉似乎把世界解读为她在穿越于神秘的 城市领土的过程中一路编写的“复杂和分层的,开放和神秘的”文学作品。 在这块城市领土中,在图像的流动之中,我们发现了城市的“阴魂不散” (haunting)的本质,正如本雅明所说,好似被画笔笔触并置在一起的油 画序列。(Bernard Zürcher)

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影展第一部分

移动图像之实验

PARIS AUTUMN

2006, 33 minutes, black-and-white, English Director: Pushpamala N Camera: Cedric Sartore and Pushpamala N Cast: Pushpamala N, Gabrielle Soyer, Cedric Vincent, Bernard and Gwenolee Zurcher, Cedric Sartore, And the People of Paris Ashish Rajadhyaksha: Pushpamala N. is a visual artist well known mainly for her photographic impersonations. This, her first complete film, is a work of fiction in the style of a gothic thriller. It tells the story of the artist’s stay in Paris in the autumn of 2005. When she rented a room in one of the oldest streets in the Marais, strange happenings occurred, and she realized that she was living in the outhouse of a mansion that had once belonged to Gabrielle d'Estrées, King Henri IV's favourite, who had died, poisoned, at the age of twenty-six just as she was about to marry the king. From that moment on, Pushpamala attempts to find out about this woman who had come to such a tragic end. Her earlier impersonations, most notably Phantom Lady, had defined a new dimension here as the artist-performer now tries to explore her own alter-ego in the haunting figure of Gabrielle d'Estrées. The video work, shot in classic noir forms, excavates the nature of performance here as the artist herself, apparently only coming to take part in an exhibition in France, finds herself entangled with local history, her own doubled and doubting other, and the invisible migrants of Paris. Pushpamala’s quest begins at the Louvre, opposite The Fortune Teller by Caravaggio and continues in the kitsch atmosphere of the Chapelle des Petits-Augustine. The action takes place at various points throughout Paris that Pushpamala assembles into a strange map where the Eiffel Tower and cafés follow images of urban violence. She reads the world like a "complex and stratified, open and enigmatic" literary work that she makes up as she weaves her way through a mysterious urban territory where, right down to the flow of the images, we find the "halting" nature of the City according to Benjamin, like a succession of paintings put together with brushstrokes. (Bernard Zürcher).

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Film Package Part 1: Experiments with the Moving Image

剃刀、血和其他故事 2009 年,7 分钟,彩色,无对白 剧本 / 导演 :K•M• 马杜苏丹南(K.M. Madhusudhanan) 摄影 :M•J• 兰达克利希南 音效 / 音乐 :拉吉凡 • 阿雅潘 剪辑 :马诺吉 演员 :巴布吉 • 苏拉比、拉维 • 库马、瓦桑特 • 拉奥、车那 • 科夏瓦

阿希什 • 拉贾德雅克萨 :电影导演和视觉艺术家和前政治激进分子马杜苏丹南 的短故事,关于一个理发师、一位曾经的革命者,在幻想中试图重演——或掩 埋——过去的鬼魂。它被与普什帕玛拉自己搜寻鬼魂的故事安排在一起。 生于 45 年前的理发师萨达西万,每当警官那拉雅南光顾他的铺子的时候,他的 政治传说就不断地被唤醒。警官的身体,以及他想象中的猛砍顾客的脖子,成为 有关一场失败的革命和复仇的整个传说发生的位置。记忆拒绝死去,从不完整和 未完成的故事中站立起来,变成一种破坏着被盖棺论定的历史的奇特的现象。这 种搅扰——事实上就是那些成堆的未曾了断的事情,让你无法死于平静——是著 名的,但是这里它连向另一种现象,即胶片电影,它本身就是一个拒绝死去的鬼 魂的创造者。

RAZOR, BLOOD AND OTHER TALES 2009, 7 minutes, colour, wordless

Script/Director: K.M. Madhusudhanan Camera: M.J. Radhakrishnan Sound/Music: Rajeevan Ayyappan Editing: Manoj Cast: Babji Surabhi, Ravi Kumar, Vasanth Rao, Chenna Keshava Ashish Rajadhyaksha: Filmmaker and visual artist, and former radical activist Madhusudhanan’s wordless vignette of a barber, a once-upon-atime revolutionary, attempting in a phantasy moment to reprise – or bury – the ghosts of the past here sits with Pushpamala’s own exploration of ghosts. Sadasivan, a barber, was born 45 years ago. His political saga repeatedly comes alive as Inspector Narayanan visits the shop. The Inspector’s body, and his imagined slashing of a customer’s neck, becomes the site of the entire saga of failed revolution and of revenge. Memory, refusing to die, rising through incomplete and unfinished stories, becomes a curious phenomenon disrupting settled history. This kind of unsettling – literally of scores unsettled, so you cannot die in peace – is well known, but here it links to another phenomenon, that of celluloid film, itself a creator of ghosts that refuse to die.

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影展第一部分

移动图像之实验

SAA

1991 年,25 分钟,彩色,无对白 导演 / 摄影 :R•V• 拉马尼(R.V. Ramani) 音效 :维克拉姆 • 乔格勒卡尔

阿希什 • 拉贾德雅克萨 :此片是在印度被视为“实验影像”创始人拉马尼的先 锋代表作,他在片中探索了城市声音的世界 :孟买,一个男人在火车上唱歌 ;马 哈拉施特拉邦的撒罗拉村,男人女人们跳舞庆祝撒红节 ;在大街小巷,一年一度 的象神诞辰日庆祝活动达到最高潮。 拉马尼是一个形式主义者,在印度找不到第二位像他这样运用影像特质的电影。 他作为一名职业电影摄影师,使大量印度独立纪录片具备了冷眼旁观及寓言的色 彩。《SAA》是拉马尼的处女之作。值得一提的是他与知名录音师维克拉姆 • 乔 格勒卡尔的合作,两人训练自己去倾听所身处的孟买市所有的声音。人们在列车 上高歌,在人行道和棚户区里起舞,电影将这些都记录了下来。令人惊讶的是文 明传奇般的故事如何在城市的街道中展开。从很多方面来说,这是一部黑色电影, 它时而描绘着一种爆炸性的城市大众文化在裂隙处的喷发。

SAA

1991, 25 minutes, colour, wordless Director/Camera: R.V. Ramani Sound: Vikram Joglekar Ashish Rajadhyaksha: Pioneering major work by a man whom many would consider the founder of experimental video in India. Here he explores the world of urban sound: a man sings in the local train, in Bombay; men and women dance celebrating the Holi festival in the village Salona, in Maharashtra; the Ganesha festival celebrations reach their peak on the streets. Ramani is a formalist and as such has put the properties of video to use as no other filmmaker in India has. These properties, of mute and nonconfrontational observation, and of allegory, he has been able to extend to a great deal of the independent Indian documentary, in his capacity as a professional cinematographer. Saa, Ramani’s first major film, is a collaboration with the well known sound recordist Vikram Joglekar, and it is significant that they train their attention to what is all around them in the city of Mumbai. People sing on trains, people dance on pavements and in the city’s shanty towns, and the film records everything. What is astonishing is how a nearcivilizational saga unfolds on the streets of the city. In many ways it is a dark film, sometimes depicting an explosive urban popular culture bursting at the seams.

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Film Package Part 1: Experiments with the Moving Image

希德什瓦里 1989 年,89 分钟,彩色,印地语 导演 :马尼 • 考尔 (Mani Kaul) 摄影 :皮亚什 • 沙阿 主演 : 米塔 • 瓦斯什、兰詹纳 • 斯里瓦 斯塔瓦、什拉瓦尼 • 慕克吉、莫霍尔 • 比斯瓦斯、纳拉扬 • 米什拉、希德什瓦里 • 黛维(影像素材)

阿希什 • 拉贾德雅克萨 :考尔的这部影片通过介于虚构与纪实之间的手 法,追溯了贝勒拿斯乐派古典图穆里(Thumri)歌手希德什瓦里 • 黛维 (1903-1977)的传奇一生。米塔 • 瓦斯什扮演从 16 岁便开始演唱的希德什 瓦里。电影的叙事结构本身就如同一首图穆里作品 :它先呈现出主题(关 于希德什瓦里的生活、神话,以及地点),然后再以不同歌曲、情绪、镜头 运动等将其丰富化,直到影片成为一块移动的织锦,欢庆生活融入音乐艺术。 影片兼具彩色与黑白,由隐喻的手段推进,这些隐喻乃是被唤起而非给定 : 一艘深蓝色的小船漂浮在恒河上,一个被丢弃的的金属容器发出泛音等等。 性爱的欢愉带来的麻醉,被与历练艰难的音乐艺术所付出的辛劳相对照。 接近尾声处,希德什瓦里仅有的一次电视现身让人得以一窥这位歌手的形 象,其形象似乎因当时的录影技术而模糊,唯有她的异常强劲的声音犹存。 《希德什瓦里》从很多方面来说,都一直是印度前卫电影的标志,它成片 于考尔本人生活中最丰硕的时期。考尔所强调的电影对于现代印度具有一 种特别重要的中介角色——特别是,摄影机将传统的,甚至是前殖民的实 践与十分当代的表演相结合的能力——在该片中得到充分体现。直至今日, 电影似乎还在说,只有这种传统与现代性之间的融合,才可能被一个人, 而且是一个天才,所体现。这样的天才,在眼下的例子中,就是希德什瓦里 • 黛维,图穆里歌手的贝勒拿斯乐派的前辈。希德什瓦里自己的角色相似于 同样富有传奇色彩的舞者古鲁 • 贾兰 • 莫哈帕特拉在考尔著名的同时代人 库马尔 • 沙哈尼的作品《潜在之神》中的角色。后者也在本次影展片目之中。 具有非凡重要性的是演员米塔 • 瓦斯什,她在整部影片中“表演”希德什瓦里, 在影片末尾的电视素材中邂逅了人物原型,标志着一种奇特的反转——传 统艺人本人,血肉鲜活,在视频媒介中来到我们面前,瓦斯什则以电影的 形式身处中间某处。

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影展第一部分

移动图像之实验

SIDDHESHWARI

1989, 89 minutes, colour, Hindi Director: Mani Kaul Cinematographer: Piyush Shah Cast: Mita Vasisth, Ranjana Srivastava, Shravani Mukherjee, Mohor Biswas, Narayan Mishra, Siddheshwari Devi (on video) Ashish Rajadhyaksha: Kaul’s exploration of cinema between fiction and documentary tracks the life of Siddheshwari Devi (1903-77), a classical thumri singer of the Benares school. The actress Mita Vasisth performs Siddheshwari, who started singing at the age of 16. The narrative is itself structured like a thumri piece: it presents key motifs (of Siddhi’s life as well as of myths and locations) and elaborates on and around them with different songs, moods, camera movements, etc., until the whole becomes a moving tapestry celebrating the transfiguration of life into music. Shot in colour and monochrome, the film proceeds by means of metaphors, evoked rather than named: an ultramarine boat floats on the Ganges, a dropped metal utensil produces musical overtones, etc. The intoxicants mandatory to the euphoria of a (sexual) meeting are contrasted with the labour that went into practicing the difficult art of music. Towards the end, archive footage of Siddheshwari’s sole TV appearance offers a glimpse of the singer, an image which seems to recede into the technology of the recording until only the eerily intense voice remains. Siddheshwari remains in many ways the iconic avant-garde Indian film, made at a particularly fertile period in Kaul’s own life. The emphasis on the cinema, as something that could play a mediating role of particular significance to modern India – specifically, the cinema’s ability to bring traditional, even precolonial, practices, together with a very, very contemporary performance – is in full view here. Until now, the cinema seems to say, it was only possible for such a merger of tradition and modernity to be embodied, in a person, and more, a person of genius: in our instance, Siddheshwari Devi, doyenne of the Benares school of thumri singers. Siddheshwari herself plays a role similar to what the equally legendary dancer Guru Kelucharan Mahapatra would play in Kaul’s renowned contemporary Kumar Shahani’s Bhavantarana, also being shown in this festival. Of extraordinary significance is actress Mita Vasisth, ‘playing’ Siddheshwari through the film, encountering the original on video in the end of the film: signaling, also, the curious inversion – of the traditional artiste herself, in the flesh, arriving before us in the medium of video, with Vasisth cinematically somewhere in between.

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Film Package Part 1: Experiments with the Moving Image

暂时失去知觉 2005 年,35 分钟,彩色,英语 导演 :莫尼卡 • 巴辛(Monica Bhasin) 摄影 :莫尼卡 • 巴辛、索尼娅 • 贾巴尔

阿希什 • 拉贾德雅克萨 :巴辛这部哀伤的纪录片探讨了印巴分治所留下的残骸,其 中部分画面由人权活动家、影视制作人索尼娅 • 贾巴尔拍摄。此片被与苏克德夫的《印 度 1967》并置在一起。如果说苏克德夫的作品显得陈旧过时,那么巴辛的印巴分治 电影则是最具当代性的。 尽管印度次大陆的政治分割发生在 1947 年,但它的政治遗产却绵延不断,时至今日 部分人口仍然饱受颠沛流离之苦。本片如同一首散文诗,探讨了诸如边境、国界、 限制与禁区等等在人们的情感和行为中产生巨大荒原的概念。昔日动乱不堪的土地 如今一片荒芜,建筑被废弃,列车里塞满寄希望于奢侈生活的躯体。这些列车以一 种诡异的常态运行着,当它们在今日穿过寂静的乡野。巴辛将纪录片与当代素材并 置在一起,使用了来自孟加拉、旁遮普和克什米尔的诗歌,并将当今的事件与那些 我们以为早已安然死去的过去的事件并置在一起。本次电影节的这一组成部分—— 即对于乡村的关注——将巴辛的土地与苏克德夫的沙漠并置在一起——两者都在解 各自的关于历史的方程。

TEMPORARY LOSS OF CONSCOUSNESS 2005, 35 minutes, colour, English

Director: Monica Bhasin Camera: Monica Bhasin, Sonia Jabbar Ashish Rajadhyaksha: Bhasin’s elegiac documentary, shot partly by human rights activist and videomaker Sonia Jabbar (Autumn’s Final Country, also in this programme), explores the debris of Partition. Here it has been juxtaposed with Sukhdev’s India 67. If the Sukhdev appears curiously dated, Bhasin’s Partition film is nothing if not contemporary. Though the Partition of the Indian subcontinent took place in 1947, its legacies have meant the recurring displacement of populations right until present times. Treated as a poetic essay, the film explores the ideas of borders, boundaries, limits and forbidden spaces that generate vast wastelands of human emotion and action. The landscapes that saw such trauma are now deserted, the buildings abandoned, and the trains that saw millions of bodies cling to them for dear life, those trains function with an eerie normalcy even as they pass today through silent countryside. Bhasin juxtaposes documentary with contemporary footage, using poetry from Bengal, Punjab and Kashmir, and events from the present with those that we had thought were comfortably dead. This component of the film season, focusing on the countryside, juxtaposes Bhasin’s land with Sukhdev’s desert: both make their own equations with history.

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追踪 2002-2004 年,10.3 分钟,黑白,无对白 导演 :维万 • 桑达拉姆(Vivan Sundaram) 摄影 :阿维吉特 • 穆库尔 • 基肖尔

阿希什 • 拉贾德雅克萨 :维万 • 桑达拉姆(生于 1937 年)是印度最优秀 的视觉艺术家之一。他曾在巴罗达的萨雅吉拉奥大君大学(The Maharaja Sayajirao University)美术学院学习,后来又求学伦敦斯莱德艺术学院。桑 达拉姆的早期作品主要是绘画。从 1990 年代开始,他开始进入多种形式的 新媒体,常常在作品中采用拾得材料。 近年来,桑达拉姆的最重要的作品都涉及照相蒙太奇和录像。他的著名的 项目中包括对他祖父(著名的 20 市集早期摄影师乌姆拉奥 • 辛格 • 谢尔 吉尔)的摄影作品的再创作,以及对他的姑姑,画家阿姆利塔 • 谢尔 - 吉 尔的作品的再创作。 桑达拉姆最近的作品同样设计摄影、录像和垃圾装置,包括日常生活用后 的物件,以及在德里著名的跳蚤市场找到的物件。他在德里举行的著名的 展览包括《伟大的印度巴扎》(1997 年),《在德里活出来》(2005 年),以 及其他与德里的拾荒者密切合作的作品。 《追踪》是维万 • 桑阿拉姆的一件双屏作品,由阿维吉特 • 穆库尔 • 基肖尔 拍摄。最初它被作为他广为称道的展览《垃圾》 (2008)的一部分而被展出。 “桑达拉姆在自己的工作室里用垃圾建造一个巨大的和空想的城市空间,用 悬在多个制高点的摄像机来控制视觉成果。这一点在之后的探讨垃圾的社 会涵义作品中持续被探讨,垃圾问题的核心是疯狂的全球消费。一种让人 想起现代性对回收品之迷恋的对商品形式的解构,以及一种关键的拼凑物 (摘自其展览《垃圾》)。在《追 (bricolage)的现代主义流程的变动不居的美学” 踪》中,一台摄影机“聚焦于一整个工作室的精心人工制造的城市,观众 们瞥见一个男人和一个女人——掠食者,或情侣——趁着夜色穿过城市”。 在本次“你不属于”影展中,《追踪》是单屏作品《旋转》的伙伴作品。

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Film Package Part 1: Experiments with the Moving Image

Tracking 2002-2004, 10.3 minutes, black-and-white, wordless Director: Vivan Sundaram Cinematographer: Avijit Mukul Kishore Ashish Rajadhyaksha: Vivan Sundaram (b. 1937) is one of India’s leading visual artists. He was trained at the Faculty of Fine Arts, M.S. University, Baroda, and later at the Slade School of Art, London. Sundaram’s early work was mainly as a painter. From the early 1990s, he moved to various forms of new media, often integrated with found materials. In recent years, Sundaram’s most significant work has involved photomontage and video. Among his well known projects involves working over photographs taken by his grandfather, the well known early 20th Century photographer Umrao Singh Sher-Gil, and others featuring his aunt, the painter Amrita SherGil. Sundaram’s recent work also involves photographs, video as well as installations of trash, including used objects of everyday life, and objects to be found in Delhi’s well known flea markets. His well known exhibitions here include The Great Indian Bazaar (1997), living.it.out.in.delhi (2005), and other works, in which he worked closely with the city’s rag pickers. Tracking is a two-channel video work by Vivan Sundaram, and photographed by Avijit Mukul Kishore. Originally shown as a part of his celebrated exhibition titled Trash ( 2008). ‘Constructing a huge and fantastical cityscape with garbage in his own studio, Sundaram mediated the visual outcome via the camera from several vantage points. This continues to be explored in successive works that explore the social implications of waste at the core of which is the frenzy of global consumption; a deconstruction of the commodity form that recalls modernity's fascination with recycled objects; and the changing aesthetic of a key modernist procedure of bricolage’ (quoted from his exhibition, Trash. In Tracking, a camera ‘focuses on a studio-set of another elaborately fabricated city, and the viewers glimpse a man and a woman-predators, or lovers-traversing the city by night’. Tracking forms a companion work to the singlechannel video, Turning, included in the You Don’t Belong exhibition.

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影展第一部分

移动图像之实验

旋转

2008 年,14 分钟,彩色,无对白

TURNING

2008, 14 minutes, colour, wordless

导演 :维万 • 桑达拉姆(Vivan Sundaram) 摄影 :阿维吉特 • 穆库尔 • 基肖尔

Director: Vivan Sundaram Cinematographer: Avijit Mukul Kishore

阿希什 • 拉贾德雅克萨 :此片是一个单屏视 频,通常作为装置作品呈现,它是桑达拉姆多 年来使用城市垃圾创作的一系列作品的一部 分。它的名为“垃圾”(Trash)的更大范围的 展览,包括了几乎被搭建成为一个城市景观的 大量的废旧材料,它们被再以静止图像和运动 视频手段来进行创作。这件视频作品同一系列 的还有两件作品,其一是双声道装置作品《追 踪》(Tracking),摄像机缓慢地追踪着一个巨 大的萎缩城市景观模型缓慢失火的过程 ;另 一部是《玛丽安 • 侯赛因的短暂上升》(The Brief Ascension of Marian Hussein)。

Ashish Rajadhyaksha: Single channel video, usually shown as an installation, Turning is part of a larger body of work that Sundaram has done over some years now with urban waste. The larger show, titled Trash, has included large amounts of waste material built almost like a cityscape, and then worked upon in both still image and moving-image video. This video comes alongside two other works, Tracking, a twochannel installation where the camera tracks slowly over a massive miniaturized urban landscape that gradually catches fire, and The Brief Ascension of Marian Hussein.

即便在维万 • 桑达拉姆过去作为画家时,他的 景观作品就是特别的。常常是来自被压迫阶层 的人们,会从地上站起来,一边表演劳动动作 一边走过它,有时候,甚至用一种我们的视觉 经验所能达到的最接近的对历史意识表征的凝 视,来思考它。

Even in his earlier avatar as a painter, Vivan Sundaram’s landscapes were special. People, often from the oppressed underclasses, would rise from the land, walk through it 当它让自己的景观作品开始包含城市垃圾—— performing acts of labour or, sometimes 丢弃的啤酒罐、电子废物、旧橡胶、棉球、药 even, contemplate it with a gaze bordering 品、塑料,来建造举行的建筑作品和最近开始 on the closest we would come to in our 出现的服装。从中,历史也浮现了 :对于这些 visual experience to a representation of a 琐碎的、被丢弃的物品来说是独特的。本次影 historical consciousness. When he moved 展将苏克德夫的 1960 年代的景观和巴辛的印 his landscape to include urban waste, from 巴分治记忆,与桑达拉姆的城市空间并置在一 used beer cans, electronic throwaways, 起,以此来激发出一个更大的有关独立印度之 used rubber, tampons, medicines, plastic, 景观的历史问题 :它可能代表什么,唤起什么, to make gigantic architectural works – and most recently costumes – from them, 和渐渐地,取代什么。 the history came too: unique for such trivial, throwaway objects. The present juxtaposition, putting Sukhdev ’s 60s landscapes and Bhasin’s Partition memories next to Sundaram’s urban spaces then provokes a larger historical question of the landscape in independent India: what it may stand for, evoke or, increasingly, replace.

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Film Package Part 1: Experiments with the Moving Image

给象头神的献祭 2010 年,21 分钟,彩色,无对白 导演 :阿希什 • 阿维昆塔克(Ashish Avikunthak) 摄影 :塞图、马诺吉 • 彼得、英德拉尼尔 • 慕克吉、拉里特 • 蒂 瓦里、普拉文 •K• 班加利、阿林丹 • 巴塔查尔吉、阿内鲁什 • 加 尔比亚尔 主演 :吉里什 • 达希瓦里、德布 • 普拉玛尼克、阿希什 • 阿维库 昆克、斯瓦潘 • 普拉玛尼克、拉蒂卡 • 阿普特

阿希什 • 拉贾德雅克萨 :1997 年,阿维库昆克拍摄了一组场景 : 一位朋友在象头神节的最后一天,在孟买焦伯蒂海滩浸没一座象 头神伽内什的偶像。一年后,朋友自杀了。十二年后,阿维库昆 克以这组场景为主题,完成了这部影片。 阿维昆塔克在一场对他的朋友的纪念仪式中,剔去了自己的头 发。这位朋友是优秀的年轻视觉艺术家吉里什 • 达希瓦里(19741998)。阿维昆塔克拍摄达希瓦里浸没伽内什偶像的胶片短片迫使 这部电影本身成为另一部电影——电影的其余部分现在寻求解释 “影中的小电影”在此是什么作用。如果一个内在于你的人已经 不在了该怎么办?你的其余部分会幸存,还是我们也得把自己给 浸没? 艺术评论家苏布希 • 吉瓦尼解释道 :达希瓦里浸没偶像的场景最 初是为一部更长的影片拍摄的。但是大雨让这组镜头无法完成, 然后,达希瓦里死了。虽然这组素材能够保存一段历历在目的记 忆,电影的其他部分现在则寻求超越纪念的功能。除了不断地剃 头,导演还采用了面具——伽内什现在被以一个毒气面具再造了。

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影展第一部分

移动图像之实验

VAKRATUNDA SWAHA

2010, 21 minutes, colour, wordless Director: Ashish Avikunthak Camera: Setu, Manoj Peter, Indranil Mukherjee, Lalit Tiwari, Praveen K. Bangari, Arindam Bhattacharjee, Anirudh Garbyal Lead players: Girish Dahiwale, Debu Pramanik, Ashish Avikunthak, Swapan Pramanik, Radhika Apte Ashish Rajadhyaksha: In 1997, Avikunthak filmed a sequence: a friend immersing an idol of Ganesha at Chowpati beach, Bombay on the last day of the Ganapati festival. A year later, the friend committed suicide. After twelve years, Avikunthak completed the film. Avikunthak has his hair shaved in ritual commemoration of his friend’s death. The friend happens to be the promising young visual artist Girish Dahiwale (1974-1998). Avikunthak’s short celluloid capturing of Dahiwale immersing the idol of Ganesha forces the film itself to become another film entirely – the rest of the film now seeks to explain to itself what this small film-within-afilm is doing there. What to do when someone who is within you is no longer there? Does the rest of you survive, or do we too now needs to immerse ourselves? As Subuhi Jiwani explains, the short sequence of Dahiwale immersing the idol, had initially been shot as part of a longer film. However, heavy rain prevented the shot from being completed, and then Dahiwale died. While the footage would now preserve a memory, almost in real time, the rest of the film now seeks to extend beyond that project of memorialising. Along with the repeated act of tonsuring, or shaving your head, the filmmaker also invokes the mask: Ganesha now reproduced by a gas mask.

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Film Package Part 1: Experiments with the Moving Image

你不属于 2011 年,75 分钟,彩色,英语 / 孟加拉语 导演 :斯帕丹 • 班纳吉(Spandan Banerjee) 摄影 :姆里纳尔 • 德赛、苏尼尔 • 皮莱、卡西克 音效 :帕塔 • 布尔曼 编辑 :阿比谢克 • 巴特拉、斯帕丹 • 班纳吉

阿希什 • 拉贾德雅克萨 :几年前,一首“传统”的包尔(孟 加拉民谣)歌曲《你不属于》一度保持了音像商店和电视上 的最高纪录。这首由孟加拉流行组合大地乐队演唱的歌曲, 被广为翻唱和制作。唱片公司声称这是传统歌曲,所以不受 版权限制。它同许多印度产品一样,它恰恰不是传统的 :这 是一首阿伦 • 查克拉博蒂创作的现代诗,由一位现在旅居法 国各地的歌手帕班 • 达斯谱曲。于是,记忆、版权法,家庭 与移民的观念,一同讲述了这首歌曲从边缘走向都市主流的 旅程。影片中的帕班 • 达斯是一个生活在法国演唱唱游吟诗 人作品的歌手,他在斋普尔(这个据说想从事文学的人必须 造访的地方)文学节上表演。阿伦 • 查克拉博蒂是一个在西 孟加拉的小村庄中过着安静自足的生活的诗人。大地乐队来 自加尔各答,因演绎民谣而闻名。普拉布达 • 班纳吉是长期 从事抗议音乐的音乐家。而帕拉斯帕瑟乐队留下了很多流行 歌曲,而如今已名声不再。这些本不相干的人物因为导演对 一首集体记忆中的“传统民谣”作者的追寻而联系在一起。 最值得注意的是,歌曲本身的有一种非常契合当下的、流亡 或流离的感受 :前往那片你所属于的土地,因为这片土地不 属于你。

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移动图像之实验

YOU DON’T BELONG

2011, 75 minutes, colour, English/Bengali Director: Spandan Banerjee Camera: Mrinal Desai, Sunil Pillai & Qaushiq Mukherjee Sound: Partha Burman Editing: Abhishek Batra, Spandan Banerjee Ashish Rajadhyaksha: A couple of years ago a ‘traditional’ Baul song, Lal pahari deshe went on to become a major recording hit, in the records shops and on television. Sung by the BangIa Indipop group Bhoomi, it was widely reproduced in numerous cover versions. The records companies claimed that this was a traditional song and therefore beyond copyright. As happens with many Indian productions, it turns out to be anything but traditional: it was a modern poem by Arun Chakraborty, and composed by Paban Das Baul, who now lives, of all places, in France. And so memory, copyright law, the concept of home and of migration, all come together to tell the career of a song from the margins into the urban mainstream. Paban Das, in the film, lives in France singing songs of wandering minstrels and is here to perform at the Jaipur Literary Festival, notorious as the place where one has to be to make a literary career. Arun Chakraborty is a poet living a quietly content life in a hamlet of West Bengal. Bhoomi is a band from Kolkata, popular for their renditions of folk tunes. Prabuddha Banerjee is a musician with a history of protest music. Paraspather is an erstwhile band left with memories of their popular songs and lost fame. These characters all come together, bound together by a filmmaker’s search for the elusive author of a song, popular in collective memory as a traditional folk song. What is remarkable is the extraordinarily contemporary feeling that the song itself reproduces, that of banishment or exile: go to the land where you belong, for this land is not for you.

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Film Package Part 2: The Documentary: Testimony, Home, City

第二部分 纪录片 :证词、家园、城市 一些经典纪录片的常规在数码技术时代的再度浮现,以及它与国家治理中的新的 危机的接触,构成了这一单元的语境。其中题为“作为证词的纪录片”的第一部 分处理的是有关“证词”的概念 :即纪录电影和一种关于社会权利的语言之间的 接触面。迪帕 • 丹瑞亚的《犹如战争》常被认为是现代印度纪实电影的一个地标, 桑贾伊 • 卡克的有关克什米尔日常生活的著名影片《我们如何欢庆自由》依然是 一部典范之作。 然后我们来到“家的隐私”部分。 阿维吉特 • 穆库尔 • 肖基尔的《家庭掠影》 中体现的纪录片工具的平民化也同样出现在希亚玛尔 • 卡马卡尔满载痛楚的关于 一名酒吧舞者的自传电影《佳人如我》中。 第三、也是最后一部分,乃是关于城市,题为“新城市文化”——它是关于粗鄙、 表演和污垢。它首先是萨巴 • 德万的作品《舞者浮生》,关于来自德里的酒吧舞 者去到乡村,感到被她们的性吸引力奇怪地赋予了权能——即便遭到如潮的男人 用猥亵的目光围观。另外两部纪录片经典作品是拉胡尔 • 罗伊的关于德里的劳动 人民的《美丽之城》 ,以及舒希尼 • 高希的关于加尔各答性工作者的《夜精灵的 故事》。

阿希什 • 拉贾德雅克萨

这一部分的影片 : 《秋日的最后国度》(索尼娅·贾巴尔,英语,2003 年) 《佳人如我》(希亚玛尔·卡马卡尔,英语,2006 年) 《加哈吉音乐》(苏拉比·夏尔马,英语,2007 年) 《我们如何欢庆自由》(桑贾伊·卡克,英语,2007 年) 《舞者浮生》(萨巴·德万,英语,2008 年) 《犯罪伙伴》(帕罗米塔·沃赫拉,英语,2011 年) 《家庭掠影》(阿维吉特·穆库尔·基肖尔,英语,2003 年) 《犹如战争》(迪帕·丹瑞亚,英语,1991 年) 《夜精灵的故事》(舒希尼·高希,英语,2002 年) 《美丽之城》(拉胡尔·罗伊,英语,2003 年)

39


影展第二部分

纪录片 :证词、家园、城市

Part 2 The Documentary: Testimony, Home, City The resurfacing of several conventions of classic documentary in the era of digital technology, and its interface with new crises in state governance provide the context for this section. The first part, titled The Documentary As Testimony, addresses the idea of testimony: the interface between the documentary cinema and a language of social rights. Deepa Dhanraj’s Something Like A War, often considered a landmark in the modern Indian documentary cinema Sanjay Kak’s noted film on everyday life in Kashmir, Jashn-e-Azadi (How We Celebrate Freedom) remains the canonical work. We then move into the Privacy of the Home. The domestication of the documentary apparatus with Avijit Mukul Kishore’s Snapshots from a Family Album works alongside Shyamal Karmakar’s painful autobiographical film about a bar dancer, I’m the Very Beautiful!. The third and final section, on the city, titled New Urban Cultures – on crassness, on performance and on grime – begins with Saba Dewan’s Naach/The Dance, about bar-dancers from Delhi going to the village and feeling strangely enabled by their sexuality even as they encounter the raucously lewd gaze of an ocean of men. Two other documentary classics, Rahul Roy’s The City Beautiful, on Delhi’s working people, and Shohini Ghosh’s Tales of the Night Fairies on Kolkata’s sex workers, are included. Ashish Rajadhyaksha

Films in this Section: Autumn’s Final Country (Sonia Jabbar, English, 2003) I’m The Very Beautiful! (Shyamal Karmakar, English, 2006)] Jahaji Music (Surabhi Sharma, English, 2007) Jashn-e-Azadi: How We Celebrate Freedom (Sanjay Kak, English, 2007) Naach/The Dance (Saba Dewan, English, 2008) Partners in Crime (Paromita Vohra, English, 2011) Snapshots from a Family Album (Avijit Mukul Kishore, English, 2003) Something like a War (Deepa Dhanraj, English, 1991) Tales of the Night Fairies (Shohini Ghosh, English, 2002) The City Beautiful (Rahul Roy, English, 2003)

40


Film Package Part 2: The Documentary: Testimony, Home, City

秋日的最后国度 2003 年,66 分钟,彩色,英语 导演 / 摄影 / 音效 :索尼娅 • 贾巴尔(Sonia Jabbar) 剪接 :莫妮卡 • 巴信

阿希什 • 拉贾德雅克萨 :维权运动者与摄像艺术家索尼娅 • 贾巴尔的影片,关 于四位女性因杜、扎里纳、沙赫纳兹和阿朱,他们都在查谟和克什米尔的冲突地 区而流离失所,饱受磨难。此片的原始影像纪录作为南亚妇女法院(达卡,2003 年 8 月)的证言而录制。影片切身贴近特写四位主角,企图在镜头里书写个人经 验。这部影片,与数部“女性”影片同映,其经典之作为迪帕 • 丹瑞亚的《犹如 战争》,它对克什米尔纪录片类型贡献卓著,展现在本影展中的桑贾伊 • 卡克的 著名影片——《我们如何欢庆自由》。

AUTUMN’S FINAL COUNTRY 2003, 66 minutes, colour, English

Director, Camera, Sound: Sonia Jabbar Editor: Monica Bhasin Ashish Rajadhyaksha: Human Rights acrivist and video artist Sonia Jabbar’s testimony film is about four women, Indu, Zarina, Shahnaz and Anju, who suffered displacement in the conflict-ridden State of Jammu and Kashmir. The original video documents had been done as testimonials for the South Asia Court of Women (Dhaka, August 2003). The film moves into extreme close-up of each of its four subjects, attempting to write individual experience upon the video screen. This film, shown alongside several ‘women’s’ films, classically Deepa Dhanraj’s Something Like a War, is also a major contribution to the Kashmir documentary genre, present in this package in Sanjay Kak’s famous Jashn-e-Azadi: How We Celebrate Freedom.

41


影展第二部分

纪录片 :证词、家园、城市

佳人如我 2006,65 分钟,彩色,英语 导演 :希亚玛尔 • 卡马卡尔(Shyamal Karmakar) 摄影 :萨蒂亚 • 普拉卡什 , 加纳纳塞卡 剪接 :纳玛拉塔 • 雷欧 音效 :普利汤 • 达斯、鲍比 • 约翰 音乐 :琪拉蒂普 • 达斯古普塔

阿希什 • 拉贾德雅克萨 :本片的女主角拉努是一名“国际”酒吧歌手, 熟知怎样周旋于男人世界。她邀请本片制作者,一位男性,进入到她 家里,去拍摄她的私密生活。他们或许已经发生了关系,但是作为一 个行迹遍天下的三十岁女人,她去很多国家,在很多夜店唱歌。那么 她到底给出了什么呢? 拉努作为一名被剥削的酒吧歌手的困境“激发”了导演拍摄这部电 影。但她真的是被剥削的吗?她曾经在加尔各答是一个难民,饱受生 活和早孕折磨,曾尝试过自杀,有一堆残破的情感经历。导演着魔似 的渴望她入镜,他也渴望怜悯她。引用一段《孟买镜报》(Mumbai “他客体化她,如同偷 Mirror,2008 年 9 月 8 日)的一段精彩评论 : 窥狂一样检查她,又充满同情的盯着她火辣的胴体,不信任她,又尝 试去理解她,从不让观众觉得他处在比他们更具优势的位置上。他决 心不做她的救世主,并着力点出自己和拉努生命中其它男人一样,是 个剥削性的男人。他和拉努的关系或许也并不是有机发展出来的,而 是导演按照自己的意图制造的。但重要的是电影的整个框架,它出于 好意,并且充分意识到那种情况。它是充分自知的,因此它并不试图 去合理化、解放或恩庇拉努或她这样的女人们,也不担心政治正确性 问题,毫无畏惧地闯入了拉努真实的生活”。 《佳人如我》与阿维吉特 • 穆库尔 • 基肖尔的《家庭掠影》都试图去 探索那被称为“家的隐私”中温柔与让人同情的一面。

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Film Package Part 2: The Documentary: Testimony, Home, City

I’M THE VERY BEAUTIFUL! 2006, 65 minutes, Colour, English

Director: Shyamal Karmakar Camera: Satya Prakash, Gnanasekhar Editor: Namrata Rao Sound: Pritam Das, Bobby John Music: Chiradip Dasgupta Ashish Rajadhyaksha: The woman is an ‘international’ bar singer by profession who knows her way around the male world. The man, the filmmaker. The woman invites the filmmaker into her home, to film her and her life in intimate conditions. They presumably have a relationship, but she is a very well traveled person, thirty years old, who goes to many countries and sings in many night clubs. So what then does she give of herself? Ranu’s predicament as, presumably, a poor, exploited bar singer ‘inspires’ the filmmaker to make a film. But is she indeed exploited? She was a refugee once, in Kolkata, suffered life an early pregnancy, attempted suicide, has a string of broken relationships. The filmmaker wants her, obsessively, on camera: he also wants to pity her. ‘He objectifies her, checks her out voyeuristically, gazes at her burnt body compassionately, disbelieves her, attempts to understand her, never letting his audience think he is in a better position than they are. He is determined not to be her saviour in any way and labours to point out that he is as much an exploitative man as any other in Ranu’s life. His relationship with her is less organic and more what he had decided it should be perhaps. But it is important in the scheme of this film, which means well and is conscious of that. It is self assured. As a result it does not attempt to justify, emancipate or patronize Ranu or her like. It does not worry about political correctness either. It is not afraid to barge into Ranu’s world as it is’, in the words of an outstanding review of the film in Mumbai Mirror (September 8, 2008). I’m the Very Beautiful! comes together with Avijit Mukul Kishore’s film Snapshots from a Family Album to explore the tender and compassionate side of what has been titled the Privacy of the Home.

43


影展第二部分

纪录片 :证词、家园、城市

加哈吉音乐 2007 年,112 分钟,彩色,英语 导演 :苏拉比 • 夏尔马(Surabhi Sharma) 剪辑 :迪克夏 • 夏尔马、苏拉比 • 夏尔马 摄影 :R•V• 拉马尼 音效 :苏雷什 • 拉贾玛尼

阿希什 • 拉贾德雅克萨 :十九世纪中叶开始, 印度劳工乘船抵达加勒比海,带着一点财物和他 们的音乐——这是一项非凡的文化实践的开端。 150 多年后,印度音乐家雷莫 • 费尔南德斯游历 到这些岛国,寻找合作的可能性并创作新的作品。 这部影片像《奈恩苏克》一样,来自一位电影人 与一位学者的合作,它由之前拍摄过纪录片《加 里 • 马里 : 关于衣服和其他故事》的苏拉比 • 夏 尔马,和学者特贾斯维利 • 尼南贾纳(Tejaswini Niranjana)合作完成。这次错误的遭际——一群音乐人、人类学家和纪录 片制作者,打算将他们头脑中的音乐和电影呈现出来,却发觉现实难以掌控, 一切过于复杂——也穿过了工具的碎片。一段段音乐似乎散落在加勒比景 观之中,伴随着由契约劳工搬运货物的火车车厢和大型货船。电影可以概 括为,为什么“印度人”雷莫 • 费尔南德斯和曾经来自印度的瑞奇 • 贾发 现双方无法合作,尽管他们都是越洋跨海的“兄弟”。 《加哈吉音乐 :加勒比的印度》是对一次艰难的、不同寻常的和复杂的音乐 旅程的记录。电影剧组与鲍勃 • 马利的老师、拉斯特法里(rastafari)哲 学家马提莫 • 布蓝诺漫步于壕沟城 ;他们陪伴加勒比索(calypso)和索卡 (soca)歌手瑞奇 • 贾来到史基纳公园 ;他们在沙瓦纳与视觉艺术家克里 斯 • 柯基尔聊天,跟随舞厅女王史黛西去参加星期三的薇地薇地 ;他们跟 着锯子女郎的歌词,他们与狄妮丝 • 贝尔风一起录了首新歌,并成为一场 东印度人印度教婚礼的座上宾。在整个过程中,他们努力编织一个有关记忆、 身份和创造性的故事。《加哈吉音乐》是理解特立尼达和牙买加当代文化种 种方面的意义的一次尝试,同时它也是对艺术合作的本质和可能性的一次 见证。

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Film Package Part 2: The Documentary: Testimony, Home, City

JAHAJI MUSIC

2007, 112 minutes, colour, English Director: Surabhi Sharma Editing: Diksha Sharma, Surabhi Sharma Cinematographer: R.V. Ramani Sound: Suresh Rajamani Ashish Rajadhyaksha: From the mid-nineteenth century Indian labourers arrived in the Caribbean on boats, bringing a few belongings and their music – the beginnings of a remarkable cultural practice. More than 150 years later, Indian musician Remo Fernandes travelled to these islands to explore potential collaborations and create new work. A collaboration, like Nainsukh too was, between a filmmaker and an academic, this one between Surabhi Sharma, known for earlier documentaries like Jari Mari: Of Cloth and Other Stories (2001), and the academic Tejaswini Niranjana. The failed encounter – a group of music people, anthropologists and documentarists, set out to make both music and a film that was all made in their heads, only to find reality a lot less easy to handle and a lot more complex – also moves through the debris of apparatus. Pieces of music are as though scattered on the Caribbean landscape, along with the railway carriages and large ships moving goods transported by indentured labour. The film epitomizes why ‘Indian’ Remo Fernandes, and Rikki Jai, once from India, really find it impossible to work together, although they are ‘brothers’ from across the seas. Jahaji Music: India in the Caribbean is a record of a difficult, if unusual and complex, musical journey. The film crew walks around Trenchtown with Bob Marley's teacher and rastafari philosopher Mortimo Planno; they accompany Rikki Jai to Skinner Park; they chat with visual artist Chris Cozier in the Savannah; they follow Dancehall Queen Stacey to Weddy Weddy Wednesday; they groove to Lady Saw's lyrics; they record a new song with Denise (Saucy Wow) Belfon and are guests at an East Indian Hindu wedding. Endeavouring, through it all, to weave a story of memory, identity and creativity. Jahaji Music is an attempt to make meaning of aspects of contemporary culture in Trinidad and Jamaica, even as it is a witness to the nature and possibilities of artistic collaboration.

45


影展第二部分

纪录片 :证词、家园、城市

我们如何欢庆自由 2007 年,139 分钟,彩色,英语 导演 :桑贾伊 • 卡克(Sanjay Kak) 摄影 :兰詹 • 帕利特 剪辑 :塔伦 • 巴尔蒂亚 音乐 :苏谢特 • 马尔霍特拉

阿希什 • 拉贾德雅克萨 :卡克的这部令 人震撼的有关独立印度这一概念的证词 电影以印度独立日开头,那天克什米尔 首府斯利那加上空升起了这一独立国家 的国旗。卡克的电影其实展现的只是克 什米尔的又一天,不平凡岁月中的平凡 一日。克什米尔经历了将近 20 年的武装 冲突,6 万人死亡,近 7 千人失踪。卡克 用真实的镜头、诗歌和文字组成了他的 电影。 卡克的电影提出了更大的问题 :纪录片 在极端不稳定的条件下的作用,这也是索 尼娅 • 贾巴尔的《秋日的最后国度》的核 心问题。除了纯粹记录之外,是不是也 是一种赎罪,甚或是哀悼?人们前赴后 继寻找历史的努力——无论如何,无论何 处,无论是在墓地里还是在已经死去或 失踪的人们的退色的照片里——让克什 米尔成为一整个纪录片电影创作传统的 前线,此片也正是这种传统最好的典范。

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JASHN-E-AZADI: H OW W E C ELEB RAT E FREEDOM 2007, 139 minutes, colour, English Director: Sanjay Kak Camera: Ranjan Palit Editing: Tarun Bhartiya Sound: Madhu Apsara Music: Suchet Malhotra Ashish Rajadhyaksha: Kak’s stunning testimony to the concept of independent India begins on Independence day, and the flag of an independent country goes up in the heart of Srinagar, Kashmir. Kak’s film is really about just another day in Kashmir, an average day in extraordinary times. Kashmir has suffered an armed struggle for nearly two decades now, with 60,000 dead and nearly 7,000 missing . Kak uses verité footage, poetry and text to make his film. Kak ’s film throws open the larger question, central also to Sonia Jabbar’s Autumn’s Final Country, about the role of documentary cinema in conditions of extreme instability. Is there an act of atonement, of mourning even, in the mere act of documentation? The incessant tendency of people to find history somehow, somewhere, in graveyards as much as in faded prints of people who are now dead or missing, has made Kashmir the frontier of an entire tradition of documentary filmmaking of which this is the very finest example.


Film Package Part 2: The Documentary: Testimony, Home, City

2008,84 分钟,彩色,英语

NAACH/THE DANCE

导演 :萨巴 • 德万(Saba Dewan) 摄影 :拉胡尔 • 罗伊 剪辑 :阿努帕马 • 钱德拉 音效 :阿希什 • 潘迪亚

Director: Saba Dewan Camera: Rahul Roy Editing: Anupama Chandra Sound: Asheesh Pandya

舞者浮生

阿希什 • 拉贾德雅克萨 :从多方面来看, 这是关于“传统”问题的最为严厉的电影 之一,它展现的恰是传统表演和现代艳俗 歌舞最为尖锐的针锋之间。曾经是比哈尔 最富盛名的瑙坦基(nautanki,北印度 一种流行的民间戏剧),如今却沦落为铁 丝网后的摇摆女郎。近五十位舞女在台上 跳舞,而台下则是清一色的男性观众。她 们的舞蹈或多或少是当下宝莱坞的风格, 曾经风靡于内陆孟买昭著的跳舞酒吧,如 今已被禁止。舞台上全女性组成的艺人, 各自随意发挥,来挑逗观众,让他们近痴 近颠 :女孩们跳舞,挤眉弄眼,搔首弄姿, 挑逗勾引,肆意利用男性观众们的高度热 情。萨巴 • 德万在她另一部著名的电影, 《另一首歌》(The Other Song)里,同 样探讨了传统文化阴暗面里的女权,只是 那次是在贝拿勒斯。在这两部电影里,对 难以驾驭的流行文化那锋利的边缘的探 索,如同一把开启印度现代生活方式的钥 匙。

2008, 84 minutes, colour, English,

Ashish Rajadhyaksha: In many ways one of the grimmest films about the question of ‘tradition’, this film works at the cusp of traditional forms of performance and the modern cabaret. This was once the famed Nautanki form of Bihar, now reduced to gyrating women behind a massive barbed wire barrier. Nearly fifty women dance on a stage for an all male audience. Their dance is more or less what Bollywood is today made up of, and is to the hinterland what Mumbai’s famous dance bars, now banned, used to do. An all-woman group of performers on stage, each doing her own thing, attempts to excite the audience to near-frenzy: the girls dance, make eye contact, beckon, gesticulate and even abuse a highly responsive all male audience. Saba Dewan’s other famous film, The Other Song, also explores the feminist underside of traditional culture, this time from Benares. In both instances, the radical edge of an untamed popular culture is explored as a key presence shaping modern existence in India.

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影展第二部分

纪录片 :证词、家园、城市

犯罪伙伴 2011 年,94 分钟,彩色,英语 导演 :帕罗米塔 • 沃赫拉(Paromita Vohra) 摄影 :尚蒂 • 布尚,巴库尔 • 夏尔马 导演 :帕罗米塔 • 沃赫拉 摄影 :尚蒂 • 布尚、巴库尔 • 夏尔马 剪接 : 立卡夫 • 德赛 音效 :阿席什 • 潘帝亚、克里斯 • 伯彻尔、吉西 • 麦可 主演 :维杰丹 • 德塔、热量与四分之一乐团、梁日明、魔鬼的复活乐团、佩提 • 罗克特、itwofs.com、抄写者乐团、兰帕特 • 哈拉米 & 拉尼 • 巴拉、拉姆 • 萨姆 帕特、朱玛 • 汗、印地语电影《心的记忆》里的伊尔凡、CDrack.in

阿希什 • 拉贾德雅克萨 :这一部纪录片描绘的是数码革命富有创造性的阴暗面, 并同时描绘执法机制和这一新兴创意经济的经理人们为了赶上时代步伐而同时开 展的努力。盗版经济,也就是移动图像在清晰界定的市场的边缘快速流通的经济, 是与新的音乐与电影创作实践和存档行为平行并进的。混音、跨界、翻唱,现 在与法律发生正面冲突。谁拥有一首歌曲 ? 沃赫拉这么问 :是制作这首歌的人? 还是为它买单的人?逻辑上来说,有没有这种可能 :世界上半数的人都是罪犯? 违法是日常生活的一部分?这部影片以惊人的活力,探索了非法的数码文化的实 践,而在其中,科技正在改变着市场的轮廓。“自己营销自己音乐的重金属乐队, 将部落的格言改编为短篇小说的民俗学者,储存和分享他们所能染指的任何东西 的‘音乐存档员’,认为盗版资助恐怖主义的反盗版狂热主义者,一个阐述非法 市场效率的口舌伶俐的 DVD 贩子,传媒大亨、说客,货币化者、下载者、上传者, 2010 年最劲主打歌和启发了这首歌的无足轻重的瑙坦基(一种印度的民歌形式) 歌手——这些地方和人物挤满了世界的巴扎(市集),也正是本片的背景。” (魔

灯基金会作品目录地址 :http://www.ucfilms.in/subject/culture/partners-in-

crime/)

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Film Package Part 2: The Documentary: Testimony, Home, City

PARTNERS IN CRIME

2011, 94 minutes, colour, English Director: Paromita Vohra Camera: Shanti Bhushan, Bakul Sharma Editing: Rikhav Desai Sound: Asheesh Pandya, Chris Burchell, Gissy Michael Featuring: Vijaydan Detha, Thermal and a Quarter, Lawrence Liang, Demonic Resurrection, Pete Lockett, itwofs.com, Scribe, Rampat Harami & Rani Bala, Ram Sampat, Jumma Khan, Irfan of Dil Ne Phir Yaad Kiya, CDrack.in Ashish Rajadhyaksha: A documentary on the creative underside of the digital revolution, and the struggle of both law-enforcement mechanisms as well as the managers of the new creative economy to keep up. The economy of piracy, of the fast flow of moving images on the very edge of the defined market, goes alongside new practices of music and film making and new practices of archiving. Remixes, crossovers, cover versions, now stand frontally in opposition to the law. Who owns a song?, Vohra asks, the person who made it or the person who paid for it? Can, logically, half of humanity, be criminal, and is breaking the law a part of everyday life? The film explores, with amazing verve, the practices of illegitimate digital cultures in which technology is changing the contours of the market. ‘Metal heads who market their own music, folklorists who turn tribal aphorisms into short stories, music archivists who hoard and share everything they can get their hands on, anti-piracy fanatics who think piracy funds terrorism, a smooth talking DVD street salesman who outlines the efficiency of the illegal market, media moguls, lobbyists, “monetizers, downloaders, uploaders, the biggest hit song of 2010 and the small time nautanki singer whose song it was inspired by – these places and people throng the world’s bazaar in which the film is set’ (catalogue of Magic Lantern Foundation, New Delhi, http://www.ucfilms. in/subject/culture/partners-in-crime/).

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影展第二部分

纪录片 :证词、家园、城市

家庭掠影 2004 年,63 分钟,英语,彩色 导演 :阿维吉特 • 穆库尔 • 基肖尔 (Avijit Mukul Kishore) 摄影 :阿维吉特 • 穆库尔 • 基肖尔、昆塔尔 • 波吉拉尔、巴图尔 • 穆克提阿 声效 :萨吉特 • 科耶利、萤火虫声效后期

阿希什 • 拉贾德雅克萨 :电影人阿维吉特 • 穆库尔 • 基肖尔讲 述了他父母亲的故事。曼朱和尼马尔 • 基肖尔是来到大都市孟买 的移民,他们曾在德里生活,但也有很多年因为母亲在德里大学 教授印地语文学,父亲在孟买一家企业担任资深管理人员而两地 分居。电影跨越多年,大部分具有家庭录像的性质。母亲在镜头 前表演,由电影学院读书的儿子自己拍摄,然后穿着运动短裤的 儿子,也同样在镜头前后出现。《家庭掠影》的拍摄者把摄影机 带到“家中”,与我们在迪巴卡尔 • 班纳吉用监视摄像头拍摄的《爱、 性和欺骗》(也在本次影展放映)中看到的恶意侵犯的视角恰好 形成对比,这同样揭示了今日印度的纪录片的一种关切。基肖尔 的作品将和卡马卡尔的《佳人如我》一同放映。

SNAPSHOTS FROM A FAMILY ALBUM 2004, 63 minutes, English, colour

Director/ Editing: Avijit Mukul Kishore Camera: Avijit Mukul Kishore, Kuntal Bhogilal, Batul Mukhtiar Sound: Shajith Koyeri, Fire-flys Post Sound Ashish Rajadhyaksha: Filmmaker Avijit Mukul Kishore’s story about his mother and father. Manju and Nirmal Kishore are migrants in the metropolis of Bombay. They lived in Delhi, and for several years separately, since she was a teacher of Hindi literature in Delhi, and he, a senior management executive in a corporate house in Bombay. The film goes over several years, and was largely made in the nature of a home movie. The mother performs before the camera, the son produces himself, as a student in film school, and later in boxer shorts, as an equally significant cinematic presence behind and in front of the camera. Snapshots’ extraordinary turn within, as the cameraman takes his camera ‘home’ and reveals a tender counterpart to the vicious and intrusive spycam that we will encounter in Dibakar Banerjee’s Love Sex Aur Dhokha in this festival, reveals another aspect of the documentary cinema’s concerns in India today. Kishore’s film is presented alongside Karmakar’s I’m The Very Beautiful!

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Film Package Part 2: The Documentary: Testimony, Home, City

SOMETHING LIKE A WAR 1991, 52 minutes, colour, English

犹如战争 1991 年,52 分钟,彩色,英语

Director: Deepa Dhanraj Camera: Navroze Contractor Editing: Haida Paul Sound: Dileep Subramaniam

导演 :迪帕 • 丹瑞亚(Deepa Dhanraj) Ashish Rajadhyaksha: One of India’s most famous 摄影 :纳夫罗泽 • 孔特拉托 documentaries, Deepa Dhanraj’s legendary coverage 剪辑 :海达 • 保罗 of the Indian government’s controversial family 音效 :迪利普 • 苏布拉马尼亚姆

planning programme. The programme had been 阿希什 • 拉贾德雅克萨 :此片是印 originally launched soon after Independence in 度最著名的纪录片之一,是迪帕 • 丹 collaboration with Western population control experts, 瑞亚对印度政府富有争议的计划生育 and the film both exposes the cynicism, corruption 项目进行的著名报道。该项目在印度 and brutality which characterizes its implementation 独立伊始与西方人口控制专家的合作 as well as interrogates the ethics of internationally 之下启动,影片既揭示了该项目在实 funded contraceptive research which uses Indian 施过程中所充斥的犬儒、腐败和粗暴, women as guinea pigs. 同时,它也质疑了由国际资助的避孕 After the infamous Sanjay Gandhi-led forced 研究中的伦理标准——他们好似对待 sterilisation programmes during the Emergency (1975小白鼠一般对待印度妇女。 6), the programme again ran into trouble promoting 在由桑贾伊 • 甘地在紧急状态期间 (1975-1976 年 ) 领 导 的 那 场 声 名 狼 藉的强制绝育之后,该项目再度因为 推广可注射避孕、荷尔蒙植入和堕胎 药片而陷入麻烦。这些手段往往由被 跨国企业利益所操控的国际人口控制 机构所推荐。该片集中在受到该项目 影响的女性的生活经验,并将其与官 方话语和著名的由政府支持的广告 词(“小家庭才是快乐家庭”)相对照。 妇女们直抒己见,在印度影视史上前 所未有。快速的电视风格的剪辑有时 会抵消精美的摄影效果,但是影片尝 试传达出将西方个人自由观直接套用 于印度女性十分不同的生活状况语境 中产生的压迫性结果,特别是当女性 被剥夺了控制生育的权利,而又无法 获得适当的术后健康服务的时候。

injectable contraception, hormonal implants and abortifacient pills, often on the recommendation of international population control agencies dominated by multinational corporate interests. The film concentrates on the experience of the women subjected to the programme, contrasting this with the official discourse and the well-known government- sponsored advertising jingles (‘small family happy family’). The women speak with, for Indian film, unprecedented candour. The rapid TVstyle editing sometimes undoes the fine camerawork but the film manages to convey that the invocation of Western-style notions of individual freedom in the very different context of Indian women’s lived conditions can be oppressive, especially when women are socially denied the right to control their fertility and do not have access to appropriate post-operative health care systems.

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影展第二部分

纪录片 :证词、家园、城市

夜精灵的故事 2002 年,74 分钟,彩色,英语 导演 :舒希尼 • 高希(Shohini Ghosh) 摄影 :萨比娜 • 加迪霍克 剪辑 :舒希尼 • 高希、希卡 • 森 音效 :苏林德尔 • 普拉萨德 • 辛格

阿希什 • 拉贾德雅克萨 :这是电影导演和电影理论家舒希 尼 • 高希关于加尔各答著名红灯区索纳加奇的性工作者的作 (杜尔巴妇女合作委员会), 品。数千名性工作者组成了 DMSC 一个由索纳加奇艾滋病干预项目发展出来的计划。作为一个 由男性、女性和变性性工作者组成的团体,DMSC 要求成人性 工作的非罪化和组成工会的权利。其中的五名成员与导演一 起创造了一次被摄影机记录下来的故事旅程。加尔各答是整 个故事的背景。

TALES OF THE NIGHT FAIRIES 2002, 74 minutes, Colour, English

Director: Shohini Ghosh Camera: Sabeena Gadihoke Editing: Shohini Ghosh, Shikha Sen Sound: Surinder Prasad Singh Ashish Rajadhyaksha: Filmmaker/film theorist Shohini Ghosh’s film on the sex workers of Sonagachi, Kolkata’s famous red-light district. Thousands of sex workers constitute the DMSC (Durbar Mahila Samanyay Committee or the Durbar Women’s Collaborative Committee), an initiative that emerged from the Shonagachi HIV/AIDS Intervention Project. A collective of men, women and transgendered sex workers, DMSC demands decriminalization of adult sex and the right to form a trade union. Five of these get together with the filmmaker to reproduce a collective journey of filmed storytelling. The city of Calcutta forms the backdrop for this story.

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Film Package Part 2: The Documentary: Testimony, Home, City

美丽之城 2003 年,78 分钟,彩色,英语 导演 / 摄影 :拉胡尔 • 罗伊(Rahul Roy)

阿希什 • 拉贾德雅克萨 :这是罗伊的一部城市纪录片。在德里的一个叫做 桑德纳格里(意为“美丽之城”)的小型的劳动阶级聚居区,有一群手摇纺 织机织工住在其中。每当我们从城市中心拐进它的小巷,我们就会感到时 光的迁移,似乎面对的是千年以来的经济生活。 但是在过去的十年,即便是这个社区也在遭遇解体。影片通过两组挣扎活 命的家庭的故事,探索了我们可以称作“新无产阶级”,或甚至是“不情愿 的无产阶级”的群体的生活。 拜 • 克里希南是一个失业者,但是他不希望妻子拉达工作。如此这般的农 民戏剧通常并不以纪录片的形式出现,也不会在印度大都会中被想象,因 为他们的历史位置根本就在神秘的印度农村。村庄消失了,或已被再造于 城市的中心。大家庭的结构在其封建源头和现代核心家庭之间进退维谷, 正如我们看到第二对夫妇,沙昆塔和希拉 • 拉尔,他们在自己的孩子面前, 遭遇自己的社会陷阱。

THE CITY BEAUTIFUL 2003, 78 minutes, colour, English Director/Camera: Rahul Roy Editing: Reena Mohan Sound: Asheesh Pandya Ashish Rajadhyaksha: Roy’s urban documentary: a small working class colony titled Sunder Nagri (Beautiful City) in Delhi is also the location for its handloom weavers. As soon as we move from the centres of a city to its bylanes, we as it were move in time as well, and into economies that may well recall millennia of practice. The last decade has however seen a disintegration of even this community. The film explores the lives of what we may now call the new proletariat, or even a reluctant proletariat, through two sets of families struggling to cope. Bal Krishan is unemployed but he doesn’t want his wife Radha to work. Such peasant-melodramatic conventions are not usually present in the documentary form, nor imagined in the midst of the Indian metropolis for their historical place would have been the mythical Indian village. The village is gone, or may have been reproduced in the middle of the city: the extended familial structures are somewhere stuck in between their feudal origins and the modern nuclear family, as we see in the lives of the second couple, Shakuntala and Hiralal, have their own social traps with their children.

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影展第三部分

讲述故事

第三部分 讲述故事 “你不属于”电影季节目表中最主要的部分是一批剧情片。我们在此探索印度电 影的一种变化 :即离开民族主义、乡村和改革议程这些印度电影的恒常主题,而 进入城市这一混乱、甚至是无政府主义的主观探索空间。李维克 • 伽塔克作于 1960 年代早期的经典之作《降 E 调》以其残酷的同时进入和出离城市,被我们 认为引领了那场我们只是到了现在才看清其后果的变迁。该片被与维万 • 桑达拉 姆的艺术影像《记忆的构造》并置在一起,后者事实上在其对孟加拉文艺复兴的 探索中引用了前者。另外两部同样来自孟加拉的电影,《聚居地的春天》和《赫 伯特》进一步打开了有关加尔各答、城市空间及其肢解的史诗篇章。 阿努拉格 • 卡沙普的《禁止吸烟》创造出这样一种两难境地——一个来自城市的 男人被一种内在之瘾所折磨,他将这种瘾外化为一种恐怖主义实验的地狱。此外, 印度电影中的新“坏孩子”,影片《戆徒》,被与影像艺术家基然 • 苏拜亚的表演 《自杀遗书》安排在一起。 《爱、性和欺骗》是迪巴卡尔 • 班纳吉对色情、实验影像、多媒体短信和间谍摄 影机的世界的一次虚构探索。我们把它和帕罗米塔 • 沃赫拉的《道德电视和爱的 圣战》放在一起。在后一部影片中,警方对公共空间的监控录像与流行情色影像 和八卦新闻一起走向电视时代。

阿希什 • 拉贾德雅克萨

这一部分的影片 : 《戆徒》(Q,孟加拉语,2010 年) 《赫伯特》(苏曼·穆霍帕迪亚,孟加拉语,2005 年) 《降 E 调》(李维克·伽塔克,孟加拉语,1961 年) 《爱、性和欺骗》(迪巴卡尔·班纳吉,印地语,2010 年) 《道德电视和爱的圣战 :一个惊悚的故事》(帕罗米塔·沃赫拉,印地语,2007 年) 《禁止吸烟》(阿努拉格·卡沙普,印地语,2007 年) 《聚居地的春天》(阿尔琼·古里萨里、莫依纳克·毕思瓦斯,孟加拉语,2010 年) 《记忆的构造》(维万·桑达拉姆,无对白,2000 年) 《自杀遗书》(基然·苏拜亚,英语,2006 年)

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Film Package Part 3: Telling Stories

Part 3 Telling Stories The major section of the You Don’t Belong programme: a series of fiction films. The Season explores a change in the Indian cinema, moving away from the certitudes of nationalism, the village and agenda of reform, and into the city, a chaotic, even anarchist space of subjective exploration. It proposes Ritwik Ghatak’s canonical early 1960s film Komal Gandhar, with its relentless move both to and out of the city, as figureheading the change of which we can only now see the consequences. Komal Gandhar is juxtaposed with the art video of Vivan Sundaram, Structures of Memory, that actually quotes this film in its own exploration into the Bengal renaissance. Two other films, also from Bengal, Sthaniya Sangbaad (Spring in the Colony), and Herbert open up further the saga about Kolkata, urban space and dismemberment. Anuraag Kashyap’s No Smoking sets up the dilemma: a man from the city, suffering by an inner addiction, externalizes that addiction into an extraordinary nether world of terrorist experiment. Gandu, the new enfant terrible of the Indian cinema, stands alongside video artist Kiran Subbaiah’s performance Suicide Note. Love, Sex aur Dhokha, Dibakar Bannerjee’s fictional exploration into the world of pornography, experimental video, multimedia messaging and the spycam, is set alongside Paromita Vohra’s Morality TV, where videotaped police surveillance of public spaces coincides with the move of the domain of popular pornography and gossip journalism into the era of television. Ashish Rajadhyaksha

Films in this Section: Gandu/Asshole (Q, Bengali, 2010) Herbert (Suman Mukhopadhyay, Bengali, 2005) Komal Gandhar (Ritwik Ghatak, Bengali, 1961) Love Sex Aur Dhokha (Dibakar Banerjee, Hindi, 2010) Morality TV & The Loving Jihad: A Thrilling Tale (Paromita Vohra, Hindi, 2007) No Smoking (Anuraag Kashyap, Hindi, 2007) Sthaniya Sangbaad/Spring in the Colony (Arjun Gourisaria/Moinak Biswas, Bengali, 2010) Structures of Memory (Vivan Sundaram, Wordless, 2000) Suicide Note (Kiran Subbaiah, English, 2006)

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影展第三部分

讲述故事

戆徒 2010 年,86 分钟,黑白 / 彩色,孟加拉语 导演 / 摄影 / 作词 / 演唱 :Q 剪辑 :马纳斯 • 米塔尔、Q 编剧 :苏罗伊特 • 森、Q 音效 :迪潘卡 • 沙基、阿尼拉班 • 森古普塔

阿希什 • 拉贾德雅克萨 :Q 的这部力作的主角是一个另类的家伙。戆徒(Gandu) 是个想成为说唱歌手的年轻人,生活在加尔各答的城市边缘,蜷缩在母亲和她情人的 屋檐下。加尔各答自身是一个战场,而他是一个年轻战士,他的伙伴则是一个痴迷李 小龙的人力车夫。这场进入都市幻想之心的野蛮之旅伴随着爱情、自杀和愤怒的情节, 却以多重的圆满结局收场 :男孩终于找到了同性恋恋人,逃出了母亲的掌控,而更梦 幻的是,男孩成为了他所梦想的说唱明星,而且还中了彩票大奖。 这部电影除了一场难以逼视的性爱场面,都是用黑白拍摄的,延续了 Q 的里程碑作品 《爱在印度》(Love in India)中他自己对爱与性的叙事的着迷。影片中的音乐由导演 Q 自己献声,而盖在影片上的层层文本则透露出东亚电影(比如中国的王小帅)的影响。 而主演阿奴布拉塔(Anubrata)出类拔萃的表演则是这部影片的核心之一。

GANDU

2010, 86 minutes, black and white/colour, Bengali Director/Camera/Lyrics/Vocals: Q Editing: Manas Mittal, Q Story: Surojit Sen, Q Sound: Dipankar Chakki, Anirban Sengupta Music: Five Little Indians Cast: Anubrata, Kamalika, Shilajit, Joyraj, Rii, Tina, Susmit, Sarkarda, Suparna, Liaqat Ali Ashish Rajadhyaksha: Q’s tour de force about a dysfunctional protagonist. Gandu is a young, wannabe rap singer, surviving on the edges of the city of Kolkata at the mercy of his mother and her lover. Kolkata itself is a war zone, and he, a young warrior, along with his partner, a rickshaw-puller and number one devotee of Bruce Lee. This savage journey into the heart of the urban phantasy is laced with stories of love, suicide and rage, and ends with several happy endings merged together: the boy finds his homosexual relationship, he breaks with the stranglehold of his mother and, just to indicate the complete phantasy, he also becomes the rap star he wants to be and wins a lottery. The film, shot in black-and-white barring one self-consciously pornographic sequence, continues Q’s own fascination with the narratives of love and sex taken from his landmark documentary Love in India. The music is Q’s own voice, and the heavy overlay of text betrays significant East Asian (some say Chinese, Wang Xiaoshuai) influences. The core of the entire film is however Anubrata’s stand-out performance as the protagonist.

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Film Package Part 3: Telling Stories

赫伯特 2005 年,143 分钟,彩色,孟加拉语 导演 / 剧本 :苏曼 • 穆霍帕迪亚(Suman Mukhopadhyay) 摄影 :索马科 • 慕克吉 音乐 :马尤克 • 博米克 剪辑 :阿尔加卡马尔 • 米特拉 演员 :布拉提亚 • 巴苏、萨比阿萨赤 • 查克拉伐提、苏巴希斯 • 穆克吉

阿希什 • 拉贾德雅克萨 :苏曼 • 穆霍帕迪亚的关于由小说家纳巴伦 • 巴塔查里亚 (Nabarun Bhattacharya)创造的一个不同寻常的文学人物的悲喜剧。赫伯特,一名 电影制片人(他死于他的爱人,一位影星的怀中)的儿子,被他的远方亲戚抚养长大, 这户亲戚有一个残暴的叔叔和一个和恐怖分子厮混的堂弟组成。当死去的双亲温存地 从一太电影摄像机后面观看他的时候,赫伯特开创了自己作为术士的职业生涯。最 后,他成功地设计了他自己的死——在一场醉酒狂欢后,他的革命堂弟私藏的炸弹意 外在他家中爆炸。这场事故后,一场高规格的警方调查随即展开,赫伯特在死后获得 了恐怖分子的名声。电影从此时开始,跟随着调查的轨迹,闪回进入赫伯特堂吉诃德 般的生活——进入他作为一个孤儿的孤独的成长史,他的仅有的情事,以及他在动荡 的 70 年代的无意被卷入地下毛泽东主义运动的经历。

HERBERT

2005, 143 minutes, colour, Bengali Director/Screenplay: Suman Mukhopadhyay Camera: Somok Mukherjee Music: Mayookh Bhaumik Editing: Arghakamal Mitra Cast: Bratya Basu, Sabyasachi Chakravarthy, Lily Chakravarty, Subhashis Mukherjee Ashish Rajadhyaksha: Suman Mukhopadhyay ’s tragic comedy about an extraordinary literary character created by novelist Nabarun Bhattacharya. Herbert, son of a movie producer (who died in the arms of his lover, the movie star), is brought up by distant family that consists of a tyrannical Uncle and a cousin who hangs out with terrorists. As the dead parents watch tenderly over their son from behind a film camera, Herbert develops his own career as a séance. In the end, he effectively scripts his own death, after an extraordinary drunken binge, when the bombs secreted by his revolutionary cousin explode unintended in his home. The incident creates a posthumous career for Herbert as a terrorist, as a high-level police inquiry is launched. The film begins at this point and follows the trajectory of the inquiry, flashbacking into the hidden corners of Herbert's quixotic life, including his lonely growing up years as an orphan, his only love affair, and his unwitting involvement with the underground Maoist Naxalbari movement during the turbulent seventies.

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影展第三部分

讲述故事

降E调 1961 年,128 分钟,黑白,孟加拉语 导演 / 剧本 : 李维克 • 伽塔克(Ritwik Ghatak) 摄影 : 迪利普 • 兰詹 • 穆霍帕德亚 音乐 :鸠帝林达 • 默以塔 主演 :苏皮亚 • 乔杜里、阿班什 • 班多帕德亚、阿尼尔 • 查托帕迪亚、吉塔 • 戴、 萨蒂德拉 • 巴塔查理亚、奇特拉 • 蒙达尔、比詹 • 巴塔查理亚、马尼 • 斯里马尼、 斯里亚塔 • 查克拉博蒂、贾南尼什 • 慕克吉

阿希什 • 拉贾德雅克萨 :本片是李维克 • 伽塔克 1961 年关 于加尔各答的经典影片,在以这座城市为背景的新近印度电 影创作语境中找到了新的意义。故事背景是充满争论的 1950 年代,讲述城市中激进戏剧团体的故事。其情节围绕两个戏 剧团体的竞争展开。其中一个由本片的主角布里古(阿班尼 什 • 班内吉饰)领导,另一个由尚塔(吉塔 • 德饰)领导。 尚塔的侄女安苏亚(苏普里亚 • 乔杜里饰),参与了布里古 的工作,而遭到她自己团队的非难。 影片的故事背景是加尔各答,但是有三场重要的离开该市的场景。其中最细致刻 画的一次是剧团去到作为印度和孟加拉国界的帕德玛河(Padma)边,布里古 和安苏亚在此发现他们都是被一条大河与他们的故乡相隔的难民。故事不断被声 效打断,包括古代婚姻的歌曲、泰戈尔的歌曲,以及来自激进的政治戏剧的歌曲, 其中穿插着枪声和警报声。音乐和声效尤其渲染着激起情绪的政治时刻,正如影 片中的一个经典镜头那样 :一个沿着废弃的铁路的跟踪镜头突然止于国境线,伴 随渔夫们的唱颂逐渐达至高潮。 随着在近两年创作的几部新作的浮现,这部电影又具有了新的重要性,这些影 片的背景同样是加尔各答,试图与《降 E 调》开展对话。

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Film Package Part 3: Telling Stories

KOMAL GANDHAR

1961, 128minutes, black and white, Bengali Director/Screenplay: Ritwik Ghatak, Camera: Dilip Ranjan Mukhopadhyay Music: Jyotirindra Moitra Lead players: Supriya Choudhury, Abanish Bannerjee, Anil Chatterjee, Geeta De, Satindra Bhattacharya, Chitra Mondol, Bijon Bhattacharya, Mani Srimani, Satyabrata Chattopadhyay, Gyanesh Mukherjee Ashish Rajadhyaksha: Ritwik Ghatak’s Calcutta classic of 1961 finds new meaning in the context of recent Indian cinema set in the city. The story is set in the contentious 1950s, and tells the story of radical theatre groups in the city. Its plot is structured around the rivalry of two theatre groups, one led by the film’s main lead, Bhrigu (Abanish Bannerjee), the other by Shanta (Geeta De). Shanta’s niece, Ansuya (Supriya Choudhury) participates in Bhrigu’s work to the disapproval of her own group. The film is set in Calcutta, but there are three major departures from the city. The most elaborate is the one when the theatre group goes to the banks of the river Padma, separating the national borders of India and Bangladesh, when Bhrigu and Ansuya discover they are both refugees separated from their country by a river. The story constantly interrupted by sound effects including ancient marriage songs, songs by Tagore, and songs from the radical political theatre, interspersed by sounds of gunshots and sirens. Music and sound effects mark particularly emotive political moments, as in one of the film’s classic shots: a tracking movement along a disused railway ending abruptly at the national border with a fishermen’s chant rising to a powerful crescendo. The film receives new significance in the light of several new films, made in the past two years, also set in Calcutta, and in this film season, and made in dialogue with Komal Gandhar.

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影展第三部分

讲述故事

爱、性和欺骗 2010 年,109 分钟,彩色,印地语 迪巴卡尔 • 班纳吉(Dibakar Banerjee) 剧本 :迪巴卡尔 • 班纳吉、卡努 • 贝尔 摄影 :尼科斯 • 安得利萨卡斯 音乐 :罗辛 • 达拉、丝内哈 • 可罕沃卡 主演 :阿里亚 • 班内吉、内哈 • 乔汗、安舒曼 • 杰哈、阿图尔 • 蒙贾、纳木拉塔 • 拉奥、 舒蒂、阿米特 • 赛尔、亨利 • 坦吉利、拉杰 • 库马尔 • 亚达夫

阿希什 • 拉贾德雅克萨 :这或许是印度 近年来最著名的独立故事片, 《爱、性和欺 骗》讲述了三个相互关联的故事。每个故 事都是通过一部闯入场景中的摄像机讲述 的。在第一个故事中,一个即将从一所印 度北部不知名内陆地区二流电影学院毕业 的学生,试图用一群小镇上的业余演员拍 一部电影。他与女主角恋爱,最终被女友 父亲的打手们杀害,并无意间用摄影机记 录下了自己的死亡 ;第二个故事完全通过 一家百货商店的监控摄像机讲述。一个在 安保摄像机机构的行政人员在一个即将开 业的 24 小时百货店中安装了四台监控摄像 机,并想出了用店中的监控摄像头制作色 情片的主意。第三个故事设计了一个针对 彭戈拉舞(bhangra)嘻哈(hip hop)明 星的钓鱼执法行动。影片表现了一个被电 视真人秀和手机偷窥视频所驱动的世界, 新媒体革命迎合了相当程度上被压制的对 “发现的同时不被发现的”欲望。 《爱、性和欺骗》虽然是一部虚构电影,却与几个也包含在这次影展中的纪 录片实践展开对话。它对于盗摄的探索构成了纪录片所进入的居家生活空 间的另一暗底面 ;而年轻导演意外地拍摄了他自己的死亡的传奇故事,也 反映了围绕着我们的数码影像无孔不入的特性。

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Film Package Part 3: Telling Stories

LOVE, SEX AUR DHOKHA (Love, Sex and Deceit) 2010, 109 minutes, colour, Hindi

Direction: Dibakar Banerjee Written by: Dibakar Banerjee, Kanu Behl Camera: Nikos Andritsakis Music: Roshin Dalal, Sneha Khanwalkar Lead players: Arya Banerjee, Neha Chauhan, Anshuman Jha, Atul Mongia, Namrata Rao, Shruti, Amit Sial, Herry Tangri, Raj Kumar Yadav Ashish Rajadhyaksha: Perhaps the best known of the independent features of recent years in India, LSD also tells three intertwined stories. Each is however told through a camera that is an intruder to the scene. In the first story, a final year film student in a second rate film institute somewhere in the hinterland of North India, tries to make a film with an amateur small town cast. He falls in love with his heroine, and unconsciously films his own death, as he is killed by the henchmen of his girlfriend’s father. The second story is told entirely through the surveillance cameras of a department store. An executive of a security camera agency installs four security cameras in a small upcoming 24-hour departmental store franchise, and hits on the idea of making a porn clip through the security cameras in the shop. The third short devises a sting operation with a bhangra hip hop star. The film reflects a world driven by reality TV shows and voyeur cam clips on cell phones, the new media revolution caters to that largely suppressed hunger for 'discovering without being discovered'. LSD, though a fiction film, talks to the several documentary practices that have also been included in this film package. Its exploration of the spycam constitutes the nether underside of the spaces of domesticity into which the documentary enters; its saga of a young filmmaker accidentally filming his own death also talks to the ubiquity of the digital moving image all around us.

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影展第三部分

讲述故事

道德电视和爱的圣战 : 一个惊悚的故事 2007 年,30 分钟,彩色,印地语 导 演、 编 剧 :帕 罗 米 塔 • 沃 赫 拉 (Paromita Vohra) 摄影 :阿维吉特 • 穆库尔 • 肖基尔 剪接 :桑克普 • 梅希罗摩 音效 :萨米娜 • 米希拉 音乐 :奇兰丹 • 帕特 旁白 :罗夫琳 • 米希拉

阿希什 • 拉贾德雅克萨 :在本次影展 中,本片与《爱、性和欺骗》同场放 映。这部帕罗米塔 • 沃赫拉观于爱情、 电视与钓鱼行动的短片探究了 2005 年 发生的一个异乎寻常的电视事件 :印 度电视台报道了又一起“突发新闻”, 在密鲁特(Meerut)镇上,女警察们 突袭公园中的情侣,并开始殴打他们。 他们带着摄影师和新闻摄像师,承诺 他们会有一场钓鱼执法行动的独家新 闻。这部电影自此超越了原本的新闻 故事,进而探究了新闻与色情猥亵的 花边新闻栏甚至低小说之间成长中的 关系。印地语犯罪杂志连同低俗侦探 小说,印度电视台的小道消息,展开 了一个刺激但令人不安的关于它自己 的故事。随着围绕暴力事件的猥亵的 媒体狂热具备了越来越无耻的形式, 影片中的故事有效地探讨了日常生活 的“色情化”。

62

MORALITY TV & THE LOVING JIHAD: A THRILLING TALE 2007, 30 minutes, colour, Hindi

Director and Writer: Paromita Vohra Camera: Avijit Mukul Kishore Editing: Sankalp Meshram Sound: Samina Mishra Music: Chirantan Bhatt Narrator: Lovleen Mishra

Ashish Rajadhyaksha: Presented here as a double-bill with LSD, Paromita Vohra’s short about love, television and the sting operation explores a bixarre television event in 2005: when Indian TV flashed a ‘breaking news’ story, in the town of Meerut when women police officers swooped down on lovers in a park and began to beat them up. The officers had with them photographers and news cameramen, all promised an exclusive sting operation. The film thereafter goes beyond the news story itself to explore the growing relationship of news with salacious gossip columns and even low-brow pulp fiction. Hindi crime magazines come together with pulp detective fiction, tabloid news on Indian TV, to unfold a thrilling but disturbing tale of its own. As the salacious media frenzy around violent events takes on ever more unscrupulous forms, the story of the film effectively reveals how public life is being rendered pornographic.


Film Package Part 3: Telling Stories

禁止吸烟 2007 年,122 分钟,彩色,印地语 导演 :阿努拉格 • 卡沙普(Anuraag Kashyap) 摄影 :拉金夫 • 拉维 音乐 :维肖·巴德瓦杰 剪辑 :阿尔提·巴迦杰 主演 :约翰 • 阿布拉罕、艾莎 • 塔基亚、帕雷什 • 拉瓦、兰维尔 • 谢雷 《禁止吸烟》或许是印度新独立电影中最前卫 阿希什 • 拉贾德雅克萨 : 的作品,和导演阿努拉格 • 卡沙普(Anuraag Kashyap)最实验的作品。 这是一部关于集权主义和新经济的迷幻电影。由约翰 • 阿布拉罕(John Abraham)饰演的广告经理人 K 沉溺于烟瘾,但是为了戒烟,K 来到一个 他无法退出的极权主义地下设施。他进入一家名为“prayogshala”或者叫 “实验室”的康复中心,他在此发现自己走在一条没有出口的通道中。在其中, 一切抽烟念头,都会受到极权主义的斯里 • 斯里 • 普拉卡什古鲁和甘塔尔 • 巴巴 • 孟加拉 • 希尔达瓦勒古鲁一系列当即的极端惩罚,包括用他一生吸 烟产生的烟雾让他心爱之人窒息而死。影片承袭了卡沙普对于制度化的恐 怖主义,及其内部受害者主题的迷恋(比如他 2004 年的《黑色星期五》[Black Friday]), 以及为主人公设下巨大谜团的叙事方式。

NO SMOKING

2007, 122 minutes, colour, Hindi Director: Anuraag Kashyap Camera: Rajeev Ravi Music: Vishal Bhardwaj Editing: Aarti Bajaj Lead players: John Abraham, Ayesha Takia, Paresh Rawal, Ranvir Sheorey Ashish Rajadhyaksha: Perhaps the single most vanguard of the new independent cinemas, and Anurag Kashyap’s most experimental film, No Smoking is a hallucinatory saga about totalitarianism and the new economy. The advertising executive K, played by movie star John Abraham, is addicted to cigarettes, but in order to give up smoking he comes up against a totalitarian underground infrastructure from which he cannot exit. He sets himself up at a rehabilitation centre known as ‘prayogshala’ or the ‘laboratory’, where he finds himself going down a path from where any desire to smoke has the totalitarian guru Shri Shri Prakash Guru Ghantal Baba Bengali Sealdahwale instantly exercise a series of extreme measures, including the killing of a loved one through asphyxiation through all the smoke created by the person in his life. The film continues Kashyap’s fascination with institutionalized terrorism and its own inner victims (e.g. Black Friday, 2004), and an exploration of a story too large in all its ramifications for its protagonist to comprehend.

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影展第三部分

讲述故事

聚居地的春天 2010 年,106 分钟,彩色,孟加拉语 导演 :阿尔琼 • 古里萨里(Arjun Gourisaria)、穆依纳克 • 比斯瓦(Moinak Biswas) 编曲 :德波卓提 • 米士拉 故事和脚本 :莫依纳克 • 毕思瓦斯 摄影 :特里布万 • 巴布 音效 :尼拉杰 • 格拉 剪辑 :阿尔琼 • 古里萨里、詹姆斯 •J• 瓦利亚库拉提尔

阿希什 • 拉贾德雅克萨 :这是一部由印度著名电影理论家创作的出色的剧情片作品。这部电影 分为三部分,背景分别是——套用城中常用的叫法——昔日的“黑城” ,南加尔各答的一片难民 聚居地,加尔各答市中心的“白城” ,以及过去十年中主要的城市开发区域“新城” 。故事见证了 由于房地产大鳄的进入,造成的聚居地的变迁。故事通过它的主角、诗人阿汀(由阿尼班 • 杜塔 扮演)讲述,他在片中与自己唯一的知己和老师迪潘卡尔(由电影导演苏曼 • 穆霍帕迪亚扮演) 交谈。影片几乎从一开始就进入了一个荒唐的维度。主要角色包括一对窃贼,政治上属于邦内执 政的左翼政党的揽客者,以及一个富有远见的房地产开发商。

STHANIYA SANGBAAD/SPRING IN THE COLONY 2010, 106 minutes, colour, Bengali

Direction: Arjun Gourisaria and Moinak Biswas Music Arrangement: Debojyoti Mishra Story and Script: Moinak Biswas Cinematography: Tribhuvan Babu Sound Design: Niraj Gera Editing: Arjun Gourisaria, James J Valiakulathil Lead players: Anirban Dutta, Suman Mukhopadhyay, Nayana Palit, Anindya Banerjee, Suvankar Mitra, Bratya Basu, Sudip Ganguly, Shubhendu Jha Ashish Rajadhyaksha: Remarkable feature by one of India’s leading film theorists. The film is in three parts, set in – to use commonly accepted terms in the city – the former ‘black town’, the refugee colony of South Calcutta, the ‘white town’ of central Calcutta and the ‘new town’ of major urban development in the past decade. The story sees the refugee colony transform through with entry of new real estate sharks. It is told through its main protagonist, Atin (Anirban Dutta), a poet, who converses with his only confidant and teacher, Dipankar (played by the filmmaker Suman Mukhopadhyay). The film moves into the dimension of the absurd from almost the beginning. Key characters include a pair of thieves, touts belonging to the ruling left political party of the state, and a visionary real-estate developer.

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Film Package Part 3: Telling Stories

记忆的构造 2000 年,29 分钟,彩色,英语 导演 :维万 • 桑达拉姆(Vivan Sundaram) 摄影 :兰詹 • 帕利特

阿希什 • 拉贾德雅克萨 :1998 年,视觉艺术家维万 • 桑达拉姆接手加尔各 答的维多利亚纪念馆来创作自己的作品的时候,他打造了或许是印度历史上 最大、也最具野心的艺术装置。该装置由纪念馆现有物件和炮制的历史物件 组合而成,覆盖到近百年的孟加拉史,由孟加拉文艺复兴起直至近年。这部 电影是桑达拉姆和著名摄影师兰詹 • 帕利特的合作产物。该装置的核心部分 是一段带有障碍物的铁轨,引用自伽塔克执导的名片《降 E 调》 。实际上,在 本次影展片目中,桑达拉姆的这件作品被与《降 E 调》本身并置在了一起。

STRUCTURES OF MEMORY 2000, 29minutes, colour, English Director: Vivan Sundaram Camera: Ranjan Palit Ashish Rajadhyaksha: Visual artist Vivan Sundaram assembled what is perhaps the largest and also most ambitious installation in India in 1998, when he took over Kolkata’s Victoria Memorial building to make his work. The installation itself covers a near-century of Bengal , from the Renaissance to recent years, through a combination of artifacts available at the Memorial itself alongside fabricated objects of history. The film was made by Sundaram together with well known cinematographer Ranjan Palit. The key centerpiece of the installation is a railway track with a barrier that directly quotes from the Ghatak classic Komal Gandhar. In this film package Sundaram’s work is in fact paired with Komal Gandhar itself.

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影展第三部分

讲述故事

自杀遗书 2006 年,26 分钟,彩色,英语 导演 :基然 • 苏拜亚(Kiran Subbaiah)

阿希什 • 拉贾德雅克萨 :这是行为和录像艺术家、软件程 序员基然 • 苏拜亚最著名的作品。苏拜亚以独角戏的形式 扮演一个想要编排自己的自杀的名为 K.Subb. 的男人(提 ) 。艺术评论家 Girish 示杜尚题在自己尿壶上的“R.Mutt.” “ 《自杀遗书》是一次对生命、 Shahane 如此评论这部作品 : 死亡和艺术的诗意的和戏剧的冥想。艺术家冷眼看待他的 领域, 从人类最早的艺术作品之一、 有两万五千年历史的《维 ,直到十分当代 伦多夫的维纳斯》 (Venus of Willendorf) 的潮流。播放《自杀遗书》的投影仪被放置在一个周期性 地旋转的底座上,以将画面投射到一个全景屏幕的不同的 点上,戏仿一个三屏作品。 ” 在本次影展片目中, 《自杀遗书》将会被与 Q 的《戆徒》并 置放映,在两个虚构主人公之间建立联系,两者都以自己 的存在实验直至最后。

SUICIDE NOTE

2006, 26 minutes, colour, English Director: Kiran Subbaiah Ashish Rajadhyaksha: Performance and video artist, and software coder Kiran Subbaiah’s best known work. A solo performance by Subbaiah, of a man named K. Subb (in recollection of R. Mutt, the signature of Marcel Duchamp on his urinal) who is trying to script his own suicide. Art critic Girish Shahane comments on this work, ‘Suicide Note is a poetic and comical meditation on life, death and art. The artist casts a cold eye over his field, extending from one of the earliest artworks created by humankind, the 25,000-year-old Venus of Willendorf, to very contemporary trends. The video projector screening Suicide Note is placed on a base that periodically swivels to shift the image to a different spot on a panoramic screen, mimicking a three-channel work’. In this package, Suicide Note is to be shown alongside Q’s Gandu, making links between these two fictional protagonists, both existentially experimenting to the very last.

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来华印度嘉宾简介

Introduction to Visiting Indian Scholars and Filmmakers 以下印度学者、电影人和社会活动家在“你不属于”活动期间,在北京、上海、广州 和昆明举行的影展和论坛中发表主题演讲,参加讨论,或就自己的电影作品与观众交流 : These scholars, filmmakers and social activists are giving speeches, taking part in discussions or sharing ideas with the audiences across Beijing, Shanghai, Guangzhou and Kunming during this year’s “You Don’t Belong” events.

阿希什 • 拉贾德雅克萨 是班加罗尔文化与社会 研究中心的高级研究员。他的职业生涯从政治 新闻业开始,并从 1980 年代起写了大量的关于 电影的论文。他曾在全球很多地方教授电影课 程,包括贾达沃普尔大学的电影研究系,韩国 国立艺术大学等。他写作、出版了《胶片时代 的印度电影 :从宝莱坞到“紧急状态”》、《印度 电影百科全书》 (与保罗 • 威尔曼合著),以及《李 维克 • 伽塔克 :回到史诗》。他还参与编辑了一 系列关于印度电影的书,包括《基肖尔 • 库马尔的悲与喜》,与阿米里特 • 甘戈 尔合编的《伽塔克 :论点 / 故事》,与马可 • 穆勒合编的《印度电影的冒险史》, 以及与兰尼 • 卜拉合编的《回头看 :1896-1960》。 Ashish Rajadhyaksha is Senior Fellow at the Centre for the Study of Culture & Society, Bangalore. He started his career in political journalism, and has written numerous essays on the cinema since the 1980s. He has taught cinema in many places round the world, including at the Jadavpur University's Department of Film Studies, the Korean National University of Art etc. He is the author of Indian Cinema in the Time of Celluloid: From Bollywood to the Emergency, (New Delhi: Tulika/Bloomington: Indiana University Press, 2009), the Encyclopedia of Indian Cinema, with Paul Willemen (British Film Institute and OUP, 1994), and Ritwik Ghatak: A Return to the Epic (Screen Unit, 1982). He has edited a number of books on Indian cinema, including The Sad and Glad of Kishore Kumar (Research Centre for Cinema Studies, 1988), with Amrit Gangar Ghatak : Arguments/Stories (Screen Unit/Research Centre for Cinema Studies, 1987), with Marco Muller, L'Avventurose Storie del Cinema Indiano (2 vols., in Italian) (Mostra Internazionale del Nuovo Cinema, 1985) and with Rani Burra, Looking Back, 1896-1960 (Directorate of Film Festivals/Film India Retrospective of Indian Cinema, 1981). E-mail: ashish@cscs.res.in

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玛达瓦 • 普拉萨德 目前担任印度海得拉巴英语与外国语 大学的文化研究教授。他曾在班加罗尔、海得拉巴和匹 兹堡读书,中间曾一度停止学业,在印度顶尖的两家英 文报社担任记者。他的作品包括《印度电影的意识形态 : 一个历史的建构》,还发表了大量关于电影、文化研究 以及政治事件的文章。他的一本关于政治中的印度电影 明星的书将于近期出版。他在进入英语与外国语大学工 作之前,曾任加尔各答社会科学研究中心的研究员和班 加罗尔文化与社会研究中心资深研究员。他曾在贾达沃普尔大学任教,并在新加 坡国立大学亚洲研究所担任研究员。他的文章曾被翻译为法语、西班牙语、卡纳 拉语和印地语出版。他还将卡纳拉语和泰米尔语的优秀作品翻译为英文,并发表在 报纸、期刊与选集上。目前,他在研究印度的语言政治。 M. Madhava Prasad is currently Professor of Cultural Studies at the English and Foreign Languages University, Hyderabad, India. He was educated in Bangalore, Hyderabad and Pittsburgh and has worked as a journalist in two leading English language newspapers in India during a break in studies. His publications include Ideology of the Hindi Film: A Historical Construction, and numerous essays in film and cultural studies and political issues. A book on Indian film stars in politics will be published shortly. Before joining the EFL University, he was Fellow at the Centre for Studies in Social Sciences, Kolkata and Senior Fellow at the Centre for the Study of Culture and Society, Bangalore. He has taught at Jadavpur University and held a research fellowship at the Asia Research Institute, National University of Singapore. Translations of his essays have been published or are being published in French, Spanish, Kannada and Hindi. His translations of creative and critical works from Kannada and Tamil to English have been published in newspapers, journals and anthologies. At present he is working on the language politics of India. E-mail: madhavaprasad@gmail.com

阿维吉特 • 穆库尔 • 基肖尔 是一位摄影师、电影制作人, 在孟买工作,常与影像艺术家与纪录片作者工作。他在 德里长大,毕业于印度学院历史系。这期间,他与菲萨 尔 • 阿卡兹的音乐剧场工作坊合作,并参与印度国家电 视频道全印电视台为儿童与青少年制作的节目。他在浦 那印度电影电视学院(FTII)学习了电影课程后来到孟买。 他的电影在国际电影节上展播,并获得了评论界的赞誉。 《家庭掠影》在实验影片中给自传体形式与深度提供了新 的视角。《全球认证》在 2010 年柏林双年展中展映。《垂直城市》在 2011 年莱比 锡国际纪录片与动画电影节、英国谢菲尔德纪录片节中展映,并在伦敦国际纪录 片节与喀拉拉国际纪录片电影节上赢得评判团特别表扬。阿维吉特还深入参与几 所科研与文化机构的教学工作。

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Avijit Mukul Kishore is a cameraperson and film maker based in Mumbai, who works closely with video artists and documentary filmmakers. He grew up in Delhi and is a graduate in history from Hindu college. During this period, he worked with Feisal Alkazi's Music Theatre Workshop, as well as working for programmes aimed at children and adolescents on Doordarshan, the Indian state TV channel. After a course of cinematography at the Film and Television Institute of India (FTII) in Pune, he came to Mumbai. His films have been shown at international film festivals and won critical acclaim. Snapshots from a Family Album (2004) offered a new perspective upon the autobiographical and the intensities within experimental videography. Certified Universal was presented at Berlinale 2010. Vertical City was shown at Dok Leipzig, Sheffield Docfest 2011 and awarded special jury mentions at the London International Documentary Festival and International Documentary Film Festival of Kerala. Avijit is also closely involved in pedagogy with several academic and cultural institutions. E-mail: avimuk@gmail.com

梁日明 是另类法律论坛(ALF)的发 起人之一,这是一个热衷于社会 - 法律 事件的律师团体。他的研究兴趣在法律 与文化的交叉点。目前他在写作一本谈 论法律、正义与电影的书,并在过去在 版权与审查方面从事法律与电影的交 叉工作。他是专著《性、 法律与录影带 : 公众在看》一书的作者,并发表过数篇关于法律与电影的文章。梁日明曾任哥伦比 亚大学的富布莱特访问学者。 Lawrence Liang is one of the co founders of Alternative law Forum (ALF), a collective of lawyers working on various socio-legal issues. His research interests have been in the intersection of law and culture. He is currently working on a book on law, justice and cinema and has in the past worked on the intersection of law and film in copyright and censorship. He is the author of a monograph "Sex, Laws and Video tape: The public is watching" and numerous articles on law and cinema. Liang was a Fulbright visiting scholar at the University of Columbia" E-mail: lawrence@altlawforum.org

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帕罗米塔 • 沃拉 是一位来自孟买的电影人、作家和 策展人,她的工作混合了虚构与非虚构的内容,来探 索都市生活、流行文化、性别、政治与欲望等主题。 她制作的纪录片包括关于文化、版权、市场与艺术的 纪录片《犯罪伙伴》 ,关于小报新闻与道德监管的《道 德电视与爱的圣战 :惊心动魄的故事》 ,关于厕所与 城市的《排队撒尿》 ,对天主教女孩刻板印象进行俏 皮探索的《桑德拉在哪里》 ,孟买世界社会论坛的印 象派影片《正在进行》 ,通过土地与食品政治探索孟 买都市形象的影片《国际大都市 :一城双记》 ,关于 女性主义的个人电影《无限女孩》 ,关于印度、南非 与美国的女性用法律改变生活与社区的《女人的位 置》 ,以及孟买纺织厂区里女性食品工人的合作社《安 纳布尔那》 。里尔 3000 电影节和新德里的“持续抵抗” 影展都曾举办过她的回顾展。她的作品还曾在伦敦泰 特现代美术馆与伦敦韦尔科姆美术馆进行展映。 她还曾创作过全球发行的剧情片《静水》 ,以及纪录片《我所了解的关于她的 事》 、 《 如果你停 :在工艺博物馆》 、 《宝莱坞的特技替身演员与肤浅》 。她的作 品主要发表在几部选集与期刊中,包括《关于孟买》 、 《电动羽毛 :关于当代印 度色情书籍的特兰克巴尔书》 、 《孟买黑色电影》 、 《休息 :企鹅版学校生活》 、 《不 同梦想 :全球新女性主义作品》 、 《第一证据 :印度的新作品》 、 《符号》 、 《南亚 流行文化与电影期刊》 。她目前为一个受欢迎的周报专栏写作,在做印度纪录 片史,并在写作一部关于印度爱情的非虚构作品。想了解更多,请浏览 www. parodevi.com。 Paromita Vohra is a filmmaker, writer and curator from Mumbai whose work mixes fiction and non-fiction to explore themes of urban life, popular culture, gender, politics and desire. She has made the documentaries Partners in Crime, on culture, copyright, markets and the arts; Morality TV and the Loving Jehad: A Thrilling Tale, on the language of tabloid TV news and moral policing, Q2P,on toilets and the city; Where’s Sandra, a playful exploration of stereotypes of Catholic girls; Work In Progress an impressionistic portrait of the World Social Forum held in Mumbai; Cosmopolis: Two Tales of a City, which explores Bombay’s cosmopolitan self image through land and food politics, Un-limited Girls, a personal take on engagements with feminism; A Woman’s Place, about women in India, South Africa and the USA using law to change their lives and communities; and Annapurna, about a women food worker’s cooperative in Bombay's textile mill area. Retrospectives of her work have been held at the Lille 3000 festival and Persistence/Resistance, New Delhi. Her films have also been screened at the Tate Modern and the Wellcome Art Gallery in London. Her films as writer are the internationally released feature Khamosh Pani/Silent Waters and the documentaries A Few Things I Know About Her, If You Pause: In a Museum of Craft, The Stuntmen of Bollywood and Skin Deep.

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Her writings have been featured in various anthologies and journals, among them Bombay Meri Jaan: Writings on Mumbai, Electric Feather: the Tranquebar Book of Contemporary Indian Erotica, Mumbai Noir, Recess: The Penguin Book of Schooldays, Dreaming Different: New Feminist Writings from Around the World, First Proof: New Writing from India, Signs, The South Asian Journal of Popular Culture and Bioscope. She writes a popular weekly newspaper column and is currently working on a history of Indian documentary as well as a non-fiction book on love in India. You can read more about her work at www.parodevi.com E-mail: parodevi@gmail.com

迦琪 • 森 是一名电影作者、发行人和策展人。她是注 册的非营利机构魔灯基金会的共同发起人和执行总监, 该机构自 1989 年以来在文化与权利领域开展工作。森 目前已经拍摄了 22 部纪录片,制作了 4 部,并指导了 数十部。她曾为多个全国性和国际性电影节担任策划和 评委。2005 年,她创办了名为“正在建设”的独立纪录 片计划。被构想为公共电影档案馆的“正在建设”,在 印度乃至世界范围内创造出了一个独特的纪录片市场。 2008 年,她创办了一系列不同于主流的电影节,冠名“持 续抵抗”,以展示他们发行的纪录片。电影节每年在德 里举行,并到印度乃至国外不同的城市巡回展映。它被 构想成一个共同空间,在其中电影、电影创作者和观众 在一起,与纪录片建立联系。 Gargi Sen is a filmmaker, distributor and curator. She is a co-founder and director of Magic Lantern Foundation, a registered not-for-profit working with culture and rights since 1989. Sen has directed 22 documentaries, produced 4 and mentored scores. She has curated and also served on the juries of several national and international film festivals. In 2005 she pioneered the creation of an independent documentary initiative called Under Construction. Conceptualized as a public access archive, Under Construction has created a unique market for the documentary in India and the world. And since 2008 she conceptualised film festivals with a difference to exhibit the collection of films under distribution. Called Persistence Resistance the annual festival is held in Delhi and travels to different cities in India and abroad and is conceptualised as a platform where films, filmmakers and audience come together to engage with the documentary. E-mail: sen.gargi@gmail.com

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桑贾伊 • 卡克 是一位独立纪录片电影人,关注点在 生态、另类选择与抵抗政治。他的电影《我们如何 欢庆自由》(2007 年,关于克什米尔冲突 ),《水上 的字》(2002 年,关于印度中部的纳尔马达大坝斗 争),以及《林中的桥》(1999 年,关于东北印度造 一座 1000 公尺的竹藤桥)曾在印度及国外广泛放映。 《水上的字》在巴西的世界环境电影 / 视频节上获得 最佳长片。《林中的桥》于 1999 年作为最佳纪录片 荣获印度国家电影奖“金荷花奖”,以及韩国釜山国 际短片电影节的“亚洲凝视”奖。 他的电影作品包括反映印度独立 50 周年时民主状况的《一件武器》和《雨的收 获》。他还围绕迁移的话题制作了电影三部曲《这片土地,我的家,英国 - 土地!》, 关注印度裔的伦敦边缘市民),《房子与家》(1993 年,关注后种族隔离的南非), 以及《柬埔寨 :缅怀吴哥》(1990 年,反省纪念碑以及它在高棉社会中的位置。 他于 2008 年在意大利博尔扎诺举办的欧洲艺术双年展的“欧洲宣言展 7”中, 展出了《通向未来的圣坛 :山丘的记忆》,讲述了奥里萨奈彦吉利山铝土矿的故事。 他出生于 1958 年,在德里大学读经济学与社会学,是一位自学成才的电影人。 他常驻新德里,积极参与到纪录片运动与反对审查的行动中。他偶尔写一些政治 评论,并且是《直到我的自由来临——克什米尔的新暴动》一书的编辑。 Sanjay Kak is an independent documentary film-maker whose recent work reflects his interests in ecology, alternatives and resistance politics. His films Jashn-e-Azadi (How We Celebrate Freedom, 2007, about the conflict in Kashmir), Words on Water (2002, about the struggle against the Narmada dams in central India), and In the Forest Hangs A Bridge (1999, about the making of a 1000 ft bridge of cane and bamboo in north east India) have been widely screened both in India and abroad. Words on Water (2003) won Best Long Film prize at the Internacional Festival of Environmental Film & Video, Brazil. In the Forest Hangs a Bridge (1999) received the "Golden Lotus" for Best Documentary Film at the 1999 National Film Awards in India, and the "Asian Gaze" Award at the Pusan Short Film Festival, Korea. His film work includes One Weapon (1997), a video about democracy in the 50th year of Indian independence, and Harvest of Rain (1995). He has also made twinned films on the theme of migration, This Land, My Land, Eng-Land!(1993) looking at people of Indian origin in the fringes of the city of London and A House and a Home (1993) in post-apartheid South Africa, and Cambodia: Angkor Remembered (1990), a reflection on the monument and its place in Khmer society. In 2008 he participated in the Manifesta7, the European Biennale of Art, in Bolzano, Italy, with the installation A Shrine to the Future: The Memory of a Hill, about the mining of bauxite in the Niyamgiri hills of Orissa. Born in 1958, Sanjay read Economics and Sociology at Delhi University, and is a self-taught filmmaker. Based in New Delhi, he is actively involved in the documentary film movement, and in the Campaign against Censorship. He writes occasional political commentary, and is the editor of the recent volume Until My Freedom Has Come – The New Intifada in Kashmir, published in May 2011 (Penguin India). E-mail: kaksanjay@gmail.com

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莫依纳克 • 毕思瓦斯 生于 1961 年,曾于贾达沃普尔大 学学习英国文学,后于澳洲莫纳什大学获得博士学位(印 度电影史)。莫依纳克在政府学校教授了 4 年英文后,于 1993 年加入了贾达沃普尔大学新组建的、全印度第一个 电影研究系。该系在他的领导下发展了学术项目与师资。 他于 2008 年在贾达沃普尔大学创办了以数码方式展开的 艺术与学习中心——媒体实验室。莫依纳克是《移动影 像期刊》的编辑,并合编《电影》、《南亚银屏研究》。他 为很多选集和杂志用孟加拉文和英文写作有关印度电影 和文化的文章。他最近的出版物包括《阿普及之后,重 访雷伊的电影》。他最近编剧并联合执导了获奖故事片《聚 居地的春天》。 Moinak Biswas (b. 1961) studied English literature at Jadavpur University and did his PhD on Indian film history from Monash University, Australia. After teaching English in a government college for four years Moinak joined the newly launched Department of Film Studies at Jadavpur University, Kolkata, in 1993. The Department was the first of its kind in India, where he took a leading part in setting up programmes and facilities. He initiated the Media Lab, a centre for art and learning through digital forms, at Jadavpur in 2008. Moinak edits the Journal of the Moving Image, and co-edits BioScope, South Asian Screen Studies. He has written on Indian film and culture in Bengali and English for numerous anthologies and magazines. Among his recent publications is the volume Apu and After, Revisiting Ray's Cinema (2006). He has recently written and co-directed the award winning feature film Sthaniya Sambaad (2009). E-mail: moinak.biswas@gmail.com 考希科 • 穆克吉,艺名为 Q,在加尔各答出生长大,今年 38 岁。 他曾于加尔各答大学学习艺术,之后在马尔代夫和斯里兰卡工作, 执导过上千部商业广告并获得大量的奖项。他后来受到欧洲与日本 独立电影的启发,主动退休、改行搬到其他城市。Q 在加尔各答创 办了名为“OVERDOSE” (过量)的先锋艺术工作室,一家制作、设计、 音乐公司。他现在制作、编剧、拍摄并导演虚构片与非虚构片,并 参与观念上的发展。他还对导演音乐电视很有兴趣。 他于 2010 年执导了独立电影《戆徒》,Twitchfilm 认为 Q 给 加斯帕 • 诺(Gaspar Noe)提供了印度的回答。该片在几 个国际电影节引起热烈讨论,Q 也于南亚国际电影节与纽约 电影节上获“最佳导演”与“最佳影片”奖。Q 目前正在拍 摄“Tasher Desh”,对泰戈尔的舞剧进行改编。 Q Kaushik Mukherjee, born and brought up in Kolkata, professionally known as Q is now thirty-eight. An arts graduate from Calcutta University. Worked in, Maldives and Sri Lanka. Directed hundred of commercials, winning various awards on the way. Then, inspired by the independent films of Europe and Japan, retired voluntarily and shifted trade and city. Back in Kolkata, Q started a progressive art house namely OVERDOSE, a production, design and music company. He now produces, writes, shoots and directs films both fiction and non-fiction, strictly conceptually developed by himself. He is also into visualizing and directing music videos.

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In 2010, he directed the independent film ‘Gandu’ (Asshole). Twitchfilm described Q as India’s answer to Gaspar Noe. Gandu created a rave at several international festivals and won the ‘Best Director’ and ‘Best Film’ at SAIFF, New York. Q is currently shooting ‘Tasher Desh’, a contemporary adaptation of Rabindranath Tagore’s dance-drama. E-mail: q@overdosejoint.in

苏拉比 • 夏尔马 是一位独立电影人。她曾在印 度电影电视学院学习电影导演,并于 2001 年拍 摄了她的第一部电影。她的电影曾在各种国际电 影节放映,并在尼泊尔南亚电影节、巴基斯坦卡 拉奇电影节、阿根廷三大洲电影节、印度纪录片 制作人协会的评选,以及希腊生态电影国际电影 节中获奖。 她的电影主题包括音乐与身份、劳动与全球化以 及女性健康。她还编写剧本,导演电视电影与教 育影片,并在印度的一些学校的电影系担任客座 讲师。目前,她在拍摄一部以迁移、音乐与手机为主题的长纪录片。 她的电影包括《加哈吉音乐 :加勒比的印度》,有关从加勒比音乐中观察到的种族、性别 与身份问题 ; 《龟人》,关于一个渔村为保护当地自然资源展开的抗争 ; 《在缝纫机的喧闹 之上》,描绘班加罗尔服装业女性的生活 ; 《妊娠、处方与协议》,记录了古吉拉特邦南部 部落中一家医院推行的一个出色的社区健康计划,以及《发自一个全球城市的笔记》,追 踪了班加罗尔服装工人建立的一个风雨飘摇但是举足轻重的工会的工作。 Surabhi Sharma is an independent film maker. She studied film direction at the Film and Television Institute of India (FTII), Pune, and made her first film in 2001. Her films have been screened at various international festivals and have been awarded at Film South Asia, Nepal; Karachi Film Festival, Pakistan; The Festival of Three Continents, Argentina; Indian Documentary Producers’ Association and Eco-cinema, Greece. Her films have been on the subjects of music and identity, labour and globalization and women’s health. Surabhi has written scripts and directed for telefilms and educational films as well. She is a guest lecturer at various National Institutions with film departments and at Film Schools in India. She is currently working on a feature length documentary film centered around the theme of migration, music and mobile phones. Her film works include: Jahaji Music: India in the Caribbean (2007), gender, race and identity seen through the music of the Caribbean, Aamakaar (The Turtle people) (2003), the story of a fishing village community’s struggle to retain control over its local natural resources, Above the Din of Sewing Machines (2004) portrays the lives of women in Bangalore’s garment industry, Pregnancy, Prescriptions and Protocol (2008) documents a remarkable community health programme run by a hospital in a tribal area in south Gujarat, India, and Notes from a Global City (2009) which tracks the work of a precarious but significant trade union set up by garment workers in Bangalore city. E-mail: sh.surabhi@gmail.com

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Introduction to Visiting Indian Scholars and Filmmakers

“印中电影与社会思想对话”部分演讲主题与摘要 Topics and Abstracts of Main Presentations on India-China Dialogue on Film and Social Thought 阿希什 • 拉贾德雅克萨(Ashish Rajadhyaksha) 'Ancient' Cinemas? A Theory of How Cinema Works within Ancient Civilizations “古代”电影?一种关于电影如何在古老文明中运作的理论

Several films from the New Indian cinema, including three key films in the ‘Experiments with the Moving Image’ section of the You Don’t Belong Festival at Beijing, make claims that can only be called civilizational. Nainsukh, Amit Dutta’s 2010 masterpiece on the 18th Century Kashmiri painter, reproduces precolonial styles using specifically cinematic techniques. Kumar Shahani’s Bhavantarana goes even further back, claiming ancient sculptural origins for the Odissi dance form, explored in the bodily movements of its foremost practitioner, Guru Kelucharan Mahapatra. And Mani Kaul’s Siddheshwari uses the formidable presence of Thumri singer Siddheshwari Devi to weave a saga of performance, myth and legend to tell a millennial story. Most of these films, along with both musicians and visual artists exploring, for example, classical styles or those from proletarian sources, claim precolonial and sometimes millennial knowledges, The cinema goes further and claims a unique ability, not available either to the painter or musician, at reinvigorating these practices through its own combination of performance with the techniques of image making. On its side, the popular cinema has itself sometimes been attributed narrative styles emanating from sources as ancient as the 5th Century Natrashastra. This presentation explores the claims of ancientness that the cinema, both experimental and popular cinema.

莫依纳克 • 毕思瓦斯(Moinak Biswas) Body, Time and Rhythms of Production in Indian Cinema 印度电影中的生产的身体、时间和节奏 The paper will look at the logic of expenditure of bodily energy that contemporary Indian cinema has developed, and place it in relation to the possibilities of alternative film practices that work through non-synchronization of narratives and rhythms of economic production. It will outline a film practice that explores processes that bring bodies into being rather than use the physical given as such. The argument will work through contemporary Bombay cinema, traditions in Indian cinema, and contemporary international trends of independent expression. Presented at Beijing Forum

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来华印度嘉宾简介

帕罗米塔 • 沃赫拉(Paromita Vohra) Dotting the ‘I’ 点出主语“我” This presentation by cutting edge film-maker, Paromita Vohra, examines the politics of documentary practice in the South Asian, and particularly Indian, context. Critiquing the historically left-liberal, ‘voice-of-God’ approach to film-making that foregrounded the political activism of the film-maker, the author places her own work in a new genre of documentary practice that has taken hold over the last decade in South Asia. This form of film-making complicates the idea of the ‘political’ by making documentaries that emphasize the subjective voice. This approach to film-making, the author argues, can be far more politically charged than earlier documentary approaches.

梁日明(Lawrence Liang) From Cinema to the Moving Image and back: Cinematic and Digital Ontologies 从电影到移动图像再回归 :电影和数码本体论 The emergence of photography and film as the new media at the turn of the 19th century unsettled the ontological stability of visual arts. A century later we see a similar destabilizing of film with the emergence of a wide range of visual practices enabled by digital technology. What are the consequences of the shift from celluloid to digital for film history and film studies? How do we make sense of the shift from the ontological basis of cinema in photography to the emerging realm of the immaterial digital image? Is the move from analog to digital as seamless as it appears? This paper raises a set of questions about film, cinema and the emerging landscape of the moving image. Using examples of leaked and marginal ‘digital objects’ that share both an immediate proximity and distance from cinema, it attempts to complicate any simple teleological account of technology and the moving image.

玛达瓦 • 普拉萨德(Madhava Prasad) Cine-Politics: The Political Significance of Cinema in South India 电影政治 :电影在南印度的政治重要性 The problem of popular sovereignty has to be investigated beyond the confines of the republican institutions themselves, in fields where supplementary, virtual formations of sovereignty create community effects that compensate for their lack in the political structure proper. Madhava Prasad discusses the emergence of sovereignty formations around film stars in the context of the challenge posed to such formations by a newly triumphant commodity logic. Far from solving the problem of sovereignty, however, the corrosive power of the economic logic may be expected to create new political crises.

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衷心感谢众合作机构和友人热情而有力地促成了“你不属于”影展和论坛的举办!

Our gratitude and appreciation to all our institutional partners and individual friends who have made this event happen!

感谢以下朋友对我们的筹备工作给予大力支持!(不完整名单) 张婧、彭嫣菡、徐梦烨、夏亮节、吴觉人、张经纬、孙悦凌、茅彦欣、刘潇、潘一帆、姚威、张扬、 龙成鹏、武佳敏、宁二、蔡欣、钟逸明、张思雨、徐蕴亮、朱新伟、吕芷伊、周引草、 王雅伟、林家瑄、张馨文、黄咏光、肖洒、王晴、豆瓣网“电影字幕翻译 2.0”云想衣裳花等


You Don't Belong (A Catalogue for the Film Festival & Forums)  

You Don’t Belong: Pasts and Futures of Indian Cinema is a part of the publishing initiative of the West Heavens Project, and an academic pu...

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