我们只是想做自己喜欢的电影——第六届《北京独立电影展》序

从八十年代末张元和吴文光的作品算起,独立电影在中国已经走过了二十多年的艰难历程。2001年,由《实践社》和《南方周末》主办,由 杨海君、杨超、张亚璇等人策划的《独立影像节》,虽然只办了一届,但首开了独立电影在中国的展播方式。同年,《酷儿影展》由崔子恩、张 江南和楊洋等人策划,并延续至今,算中国历史最长的独立电影展播。2003年3月,由郭净、楊昆、和淵、易思成策划,以纪录片为专题的《云 之南人類學影像展》,首展在昆明开幕。同年4月,由朱日坤、張江藝策划的《中国纪录片交流周》在北京开始。正是在这样的形势下,2006 年,栗宪庭电影基金成立,由電影基金创展的《北京独立电影展》,和从第四届开始的《中国纪录片交流周》,在宋庄美术馆开始,并延续至 今。

近些年,独立电影的展播,开始整合成一种初具持续性和组织化、规模化的形式。尤其是由和淵、易思成、季丹、沙青等人策划的昆明《云 之南紀錄影像展》,曹愷、张献民策划的南京《中国独立影像年度展》,应亮策划的《重庆民间映画交流展》,以及由老贺(贺中)和王晓鲁策 划的北京《北京青年独立影像展》等影展连番上演,证实了独立电影在中国已呈燎原之势。

但是,2011年五月份,由朱日坤策划的第八届《中国纪录片周》被迫停播。2011年十月份,由王宏伟策划的第六届《北京独立电影展》,被 迫迁移出被称为中国最大当代艺术家聚集地的宋庄。同时,这种令人遗憾的事情,在各地举办的影展上,多少都遇到了有关方面的干扰,独立电 影依然举步维艰。

其实,独立电影人并非刻意要强调自己的边缘身份,更非要对抗主流电影的商业和意识形态模式或者现行体制什么的,我们只是想要做自己 喜欢的电影!这是一个逐渐走向多元或者主张走向多元的社会,我们没有妨碍,或者并不在乎商业电影或其它主流艺术的大行其事和热火朝天的 社会接受度,也不在乎时代、社会、大众、政治和经济的功利时效,更是置金钱利益、社会荣誉、大众掌声于度外。相对电影的商业和意识形态 模式,我们只在乎电影人表达的独立性,而且,这种独立性来源于电影人对个人感觉的忠诚,以及对个人感觉表达方式的试验和探索。

支持独立电影,为独立电影提供一个更好的展播平台,也是我们基金和所有热爱独立电影的人喜欢做的事情,这是一个建立在与主流社会几 乎无关的学术、民间、自筹自划的事情。所以,我们呼吁有关方面给予起码的理解和宽容,这是社会走向多元、平和的必备条件。同时,对于独 立电影人,我们更需要专注自己的事情,以坚定、平和的心态对待眼前所有的难关。

栗宪庭 2011年10月5日

We just want to make the films we like – The 6th Beijing Independent Film Festival

Starting from the films of Zhang Yuan and Wu Wenguang in the 1980s, independent cinema in China has already gone through a difficult course that spans over twenty years. In 2001 Shi Jian She and Southern Weekend sponsored the Independent Cinema Festival, which was curated by Yang Haijun, Yang Zhao, Zhang Yaxuan and others. Even though there was only one edition, it still set the tone for the way independent film exhibitions were to be held in China. That same year, the Queer festival was started by Cui Zi'en, Zhang Jiangnan, Yi Hao and others, and has continued until today, constituting China's longest running film festival. In March 2003, Guo Zheng, Yang Kun, He Yuan, and Yi Sicheng made documentary the main focus of Yunnan Multi-Cultural Image Festival (Yunfest), and the first edition was held in Kunming. Then, in April of the same year, Zhu Rikun and Zhang Jiangyi started China Documentary Week (DOChina) in Beijing. It was in this context that the Li Xianting Film Fund was established in 2006. The fund created the Beijing Independent Film Festival and, starting with the 4th China Documentary Week, has been held at the Songzhuang Art Museum until today.

Recently, independent film screenings have begun to come together in a more sustained, organized, and standardized form. Film exhibitions have continued due especially to the efforts of He Yuan, Yi Sicheng, Li Dan, Sha Qing and others in organizing Yunfest; Zhang Xianmin in organizing China the Independent Film Festival; Ying Liang in organizing the Chongqing Independent Film and Video Festival; and Lao He(He Zhong) and Wang Xiaolu in organizing the Beijing Youth Film Festival. These examples confirm that independent cinema in China already possesses the power of a prairie set on fire.

However, in May 2011, the 8th China Documentary Week directed by Zhu Rikun was forced into cancellation. This October 2011, the 6th Beijing Independent Film Festival directed by Wang Hongwei has been forced to move and yet officials want to call Songzhuang China's largest community for contemporary artist to gather. With this kind of regrettable situation wherein the various places for film exhibition meet with so many interferences from officials, the future progress of independent cinema remains under duress.

Yet, there is no need for those involved in independent film to emphasize their marginal identity, and even less of a need to oppose the industry and ideology of mainstream film or even the present system. We only want to make the films we like! This is a society gradually moving towards pluralism, presenting views that are growing more diverse. We have not interfered and certainly do not mind the alacrity with which society accepts commercial film or other mainstream art. We also do not mind the utilitarian efficiency of the current age, of society, of the masses, of politics, and of the economy. What's more, we do not give a thought to monetary interest, social honor, and applause from the masses. Relative to the business and ideology of cinema, we only care about the expression of independent spirit. This kind of independence emerges from the loyalty with which the individual filmmaker follows his/her feeling, and from exploring and experimenting with forms of expression.
Supporting independent cinema and providing it with a better exhibition platform is the kind of work that our foundation and all those who love independent cinema are glad to do. This is a forum with almost no relation to mainstream society; it is for the people, self-funded and self-determined. So, we must at least give the officials our understanding and tolerance; for, this is the necessary condition for society to move towards diversity and peace. At the same time, for those involved in independent cinema, we must be even more devoted to our work, and face the upcoming challenges with a firm and peaceful mind.

Li Xianting October 5, 2011