“首届(2010年)北京青年独立电影展”
2010年主题——“十年”
王小鲁
从2000年到2010年，恰好十年。2000年作为一个标识文化时间的界碑，对中国独立电影来说，是重要的年份。如果说1990年张元、王小帅的电影《妈妈》和吴文光的《流浪北京》（1988年开拍）作为中国独立电影的最早发端，那么2000年的实践社和在此前后一些其他社团于酒吧举行的本土DV作品的放映，包括DV创作小组的建立……这些都使2000年可以看作中国独立电影的第二个阶段——中国数字独立电影时代或者说“非专业独立电影时代”的正式开始。正是因为那些活动，在2000年前后，DV作品才开始进入一定规模的社会交流和社会互动之中，DV创作具有了更为明晰的自觉。那是中国独立电影第二个时代的来临。
DV在1995年被发明。中国最早的DV创作开始于1995年，杨荔钠说她在这一年就买了DV拍片子。而她的第一个DV电影《老头》则是完成于1999年。在2000年以前，中国的DV创作很少，记得有吴文光于1998年夏天开拍《江湖》、朱传明1998年开拍《北京弹匠》……到2000年左右，DV创作逐渐多起来，一个相对稳定的创作队伍形成了。而于2000年4月1日，实践社成立，此年的8月26日，吴文光的“DV纪录小组”成立，大家一起学习技术，交流购买机器的经验，互相帮助，组织观摩和讨论。
此后十年,独立电影尤其是独立纪录片实现了巨大的发展。独立电影作为中国社会的深度报道和心灵经验的真实摹写，成为参与建设中国社会心理秩序和文化秩序的重要力量。DV的内涵也被日益丰富着。第一代独立纪录片人康健宁在用DV拍摄《当兵》（2000年完成）之后，他说“DV没有本质”。的确，本质主义的思维是一种自我限定，我们在今天的行动都是在丰富它的内涵，扩充它的本质。尤其是DV甚至一般意义上的电影都很年轻，它的文化意义是在我们今天每个人的行动中塑造出来的。无论是吴文光，康健宁，还是拍摄出最早的家庭录象带的王芬与杨荔娜。包括后来的艾晓明或者艾未未，以及一批新生的年轻导演，他们的DV使用都体现了一种具体的开拓性，比如说他们在拍摄中建立了一种与被拍者的新的关系模式，从而塑造了一种新型的社会交往和行动美学。
恰好十年，可以做一种回顾。我们挑选了2009年至今的十部优秀的独立电影进行展映，以呈现最新的成就，同时我们也挑选了中国独立电影第二个时代早期有影响力的部分纪录片作品，作为回顾单元的内容。新的与旧的，最早的与最晚的，交织在一起，我们期待因此可以获得一个相对完整的历史感。我们可以在今天的创作里面看到对于过去的回应和超越，看到某种传统的建立，同时看见某种超越传统的新方向与新维度。
最早的时候，DV作品的公开放映就是在酒吧里进行的。其实直到2000年左右，我们才发现酒吧是电影院之外的另外一个可以使用的放映空间，这个空间的发现意义重大，它使一些独立电影找到了寻找观众的途径，惟其如此，独立电影的行动方才显得完整。独立电影创作意志的加强，我猜与此有一定的关系。今天我们的电影同时在剧场和酒吧里放映，这样的空间具有某种自由的氛围，我们愿意再次来到这里观看并感受上述一切。
The First Beijing Youth Independent Film Festival
A Decade
wangxiaolu
It has precisely been a decade since 2000. The year 2000 as a milestone in cultural timeline, it was especially significant for independent Chinese film. If Zhang Yuan and Wang Xiaoshuai’s Mother (1990) and Wu Wenguang’s Roaming in Beijing (shoted in 1988) were the inception of China’s independent film, then the founding of Experimental Society and other film groups organized screenings of artworks by local filmmakers at various bars can be considered as its second phase – age of the digital film, or the formal beginning of “non-professional film age”. Because of the film movement happened around 2000, DV production began to be introduced to social interaction. DV works has a kind of self-awareness from the beginning. That also meaned the dawn of the second era of Chinese independent flims.
Digital Video (abbreviated as DV) was invented in 1995. The earliest artworks made with a DV in China dates to 1995. Yang Lina said she’s bought a DV to make films that year, and she completed her first work filmed with a DV Old Man in 1999. Before 2000, there were very few films made with a DV, If I remember correctly, Wu Wenguang began to film Jianghu: Life on the road, Zhu Chuanming began to film Beijing Cotton Fluffing Artisan in 1998, Zhao Liang’s Paper Airplane began in 1998 … until 2000, more films shot with a DV began to emerge gradually, forming into a rather steady group of works.
Ten years after then were the years that independent film, especailly independent documentary film made huge progress. Independent films reported the reality of society and represented the Soul experience. It tooke part in the restruction of chinese Psychological order and culture order. After shooting his film, Joining the Army (completed in 2000), Kang Jianning, a first generation documentary filmmaker claimed, “A DV has no essence.” Indeed, being an essentialist is a type of self-restriction, since our efforts today are to enrich its significance, expand its essence. Especially that DV or even film is still a young media, and its cultural significance are created through our own actions today. Either Wu Wenguang, Kang Jianning, or Wang Fen and Yang Lina who were the earliest to make home videos, as well as Ai Xiaoming or Ai Weiwei – their use of the DV were innovative, who have established a new model of relationships with the subjects filmed. Thus, enriching the significance of digital videos.
It has precisely been a decade – a great opportunity for hosting a retrospective, by which we can mark our present response and transcendence of the past. One could trace a maturing passion, and the joy of this maturing medium, as well as a new direction and scale. The convergence of these elements can give us a comprehensive sense of history. We can make use of the tradition to look back to it to see the establishment of tradition and the new direction and orientation to be beyond that.
At the very beginning, DV works were screened in bars. As a matter of fact, we found that bars can be another exhibition place. The discovery have great meaning, because it provides room for independent films, and also provides place to make audience to contact with independent films. I guess that independent films’ development is relevant to bars. Today our independent films can exhibit both in bars and theaters. This kind of space means some kind of freedom. We’d like to come here again to feel about everything talked above.
(翻译: 贺潇 曹怡平)
