three years ago I had really enjoyed the festival time through collaborating with the entertainment channel of a well-known portal website in china covering the then-PIFF（Pusan!）. It simply felt euphoric spending the time on the subway to sketch the interview outline, which made the ride between the city center to the beach area Haeundae psychologically short. I took great pleasure in talking to filmmakers emerging or established, writing reviews (though sometimes for films I didn't really want to see) and occasionally meeting the stars (when they were short of personnel). Seemingly between a journalist for the entertainment channel and that for the serious film art we don't have to demarcate and both roles mingle well. Still I find it awkward to be the former (not intended for disrespect though). Nevertheless i believe in my ability to do both well. (and bearing in mind I'm a film scholar-to-be!!! At least I hope so)
三年后，再访釜山。和之前一样，人们不会质疑，BIFF已是当今亚洲最棒和最有野心的国际性电影节；尽管它96年第一届的时候并不确定它会成为后来、它当初模仿的榜样如香港国际电影节（HKIFF）的榜样。它的“亚洲电影”版图在迅速扩大，而除了电影市场、基金计划PPP和天才训练营，BIFF今年与学界联手，推出了BUSAN CINEMA FORUM（BCF）；连续三天的有关东亚电影与电影节研究的盛会。
Three years later, I revisited Busan city for its film festival. And undoubtedly BIFF has been the best international film festival to glimpse into the best of Asian cinema. Though at its inaugural edition in 1996, BIFF might not have envisioned itself, within such a short time, to surpass its then-model---Hong Kong International Film Festival and to take the leading role on the world festival landscape. The film map of BIFF for a broadly defined Asian cinema is expanding. Besides the existing Film Market, PPP and Asian talent camp, this year BIFF launched the first Busan Cinema Forum which intends to further incorporate and reinforce the academic dimension into the multiple discourses of the festival. BCF last 3 days between 10-12, and I was there to observe, haha.
我只是去BCF打酱油的。
不过忙里偷闲看了几套片子。
Indeed I had used my privilege of the BCF badge well. I saw four films altogether, which include Matsumoto Hitoshi's first period film "Scabbard Samurai", Korean filmmaker Koo Ja-hong's sophomore work "Dangerously Excited", and two Chinese indie---Wang Xiaoshuai's "11 Flowers", Wang Chao's "Celestial Kingdom".
其中包括，日本松本人志的“さや侍”、韩国导演KOO Ja-hong的dangerously excited(위험한 흥분)以及中国独立电影导演王超的“天国”和王小帅的“我十一”。
果不其然，王小帅的“我十一”是他的作品中（除“日照重庆”未得一见，其他作品应该都有看过）我最喜欢的一部。其实王不是第一次拍知青题材，“青红”中有过甚至相似的桥段；可以说，“我十一”颇有些自传式的影子，重访童年经历，以一双十一岁男孩儿的眼睛，看这个正在急剧发生变化的国度。
11 Flowers is my favorite of all the works I saw by Wang so far (I didn't watch his previous film on Chongqing). Not the first time Wang deals with the "Knowledge Youth" subject based on his family's immigrating experience from Shanghai to the Southwestern city Guiyang in the tumultuous years (see his Shanghai Dreams). But should I say that 11 Flowers smells more of autobiography, with childhood memory highlighted, and Wang definitely delivers it well to understand the tragedies upon the individuals as perceived by a 11-year-old boy, for whom they seem to mix with the mundane and the transient.
我甚至说那也触动了我的童年记忆。因为我的祖父母也是自北方迁徙至昆明，与各地来支援“三线建设”的人们，在深山处的厂区生活。
it may trigger my childhood memory too (though I am much younger than Wang). My grandparents also immigrated from NorthEast China to Kunming (the southwest province Yunnan's capital city) as part of Mao's strategic deployment of "Building the Third Front".
3 Comments:
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2011年10月15日 02:15
为啥改成 biff了，我还是觉得piff好。有冲击力。正如Pusan bi Busan hao.2011年10月17日 00:10是因为。。。。爆破音？？？？2011年10月17日 00:11我觉得和他们的 汉城 改称 首尔 是一个系列的工程。。。。
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